Cinema 4D and Redshift: Crystal Looking Shapes | Alexey Brin | Skillshare

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Cinema 4D and Redshift: Crystal Looking Shapes

teacher avatar Alexey Brin, Motion designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (25m)
    • 1. Intro

      0:24
    • 2. Building geometry

      5:36
    • 3. Setting Shader

      5:01
    • 4. Lighting and finalizing shaders

      6:55
    • 5. Final tweaks

      6:59
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About This Class

In this class, we`ll use Cinema 4D to create from scratch a crystal-looking geometry-shape with refracting material. This would be a procedural workflow. We will use standard tools of cinema 4D but for render you`ll need a Redshift.

** But if you use Octane or Arnold or another render engine, these methods and techniques can be recreated in those renders too. **

Used Software: Cinema 4D (24)and Redshift 3.0.56

Free texture for this class is included in attached project file. Textures can be found at https://ambientcg.com/list?category=SurfaceImperfections

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.

See full profile

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Transcripts

1. Intro: Hi, this is a cinema and Redshift class about creating crystal will look in figures. I'll show you how I create geometry, shader, how to play with lights, and how to get the final result as you seen now on the screen. And if you like the result, let's start to explore this method of working together. 2. Building geometry: Before we start doing our modeling, texturing and rendering, I want to press it up the scene. I use Redshift. Let me show you the version. Render redshift. 0.5-six. Doesn't matter. If you have point IF2. The main thing is that you have to work in a basis. So if your redshift already has these color space support, you can start to work and get the same result. But if you have another renderer, maybe octane Arnold, corona me Ray, and maybe elevation of Redshift. You still can follow this tutorial because then it contains a lot more about principles of rendering and how you can mix and create shader. So output, I said 2.8. Just to have better preview for our lesson. With going to maybe one height, I mean 180 or even a 100. Then going to Redshift RenderView or I have pre-made redshift layout has only a few buttons and more graph panel panel here. So let's start. We'll create a sphere cloner with them. At some count. Add random effector. You can go to MoGraph. Random effector. Always roasted random. Going to scale set to uniform scale one. So we have to produce some organic shape and a lot more intersection. So we're going to object and set it to very near. Yes. Now, I create camera going to set may be 50 degrees or 50 millimeters or eight millimeters. Going to set it on, fire in z axis, 0, 0, 0, 0. And put it like this, maybe more vertical. And playing with Sid. I like this shape. So if we hit render, we'll get something like this. I think. Pretty good. And I create a null object. So these would be our group. No geometry. Geometry to you as and create volume builder and dropping our geometry to volume builder and to automation. So we have this organic shape with melting and blending shapes. See the difference. We have very smooth transition. No. Yes. Now we're going to decrease our voxel size, maybe 25. And add as they have smooth. And we get very smooth. And adaptive wireframe for our further random, I mean adaptive. So if I hit and be pretty dense and a, and now I can go and play with as they have smooth operator. We can use different algorithms. But in this case, we need to have the more rough result. We don't need to keep this polygon edges. Caution with work. Hi, this is the main geometry. Maybe we can change seed. And you see that we immediately have that organic shape. And you can stop at any seed. You want. Very funny. Sometimes figures we can get, I would like to have these contrast shape, big one, middle ones, and small ones. Now, we have to build our shaders and lighting. 3. Setting Shader: Just not to waste your time. I upload a texture, cold surface imperfection. It's taken from ambient CG or CC0 textures.com. I'll provide a link in the class description for this. And now we have to build the shader, drop our material nothing change. Connect texture to suface. Yes, we have some distortion. In last redshift, we have texture, projection node. So we can change to play ball or any other. Marines. Spherical works great, but for people who doesn't have this one, I'll keep their old workflow. I'm going select the shader ball and going from simple, from UV mapping to spherical. I think pretty close maybe changed to flat. Not good. Cubic. Cubic works. Better, less deformation. Right-click fit object, hit. Yes. And I like these scale of texture. Now we're going to connect our material. Select Preset water. Now we have to create some, maybe light or something that started to play and interact with our water. A set to Visible rotated or transportation. 118, the witch. And we have our area light decrease intensity maybe to ten and adds, maybe coloring, decreasing in density, adding color. Now we start to see something. Now we can go to texture. Sometimes you need to play with the color space, but I keep it as default so we can set it to maybe a wreck color space or maybe an sRGB, wrong. But I keep, when in-out. I connected with reflection roughness. And we immediately start to see these grand year looking thing. Create new node, ramp, general input. And I would like to decrease these black zones or maybe inverted. Now, it would be very rough. So I'm going to add this black point a bit, maybe to ten. And now we have more roughness base material. And now connected to the bump node detection input, overall bump input. And now we can play with bump strength. You see that when we get a lot of strength, we have this strange effect. Too much in bump, but I think in between will get very good result. And as we choose Preset water, we going to refraction. And now we have dispersion there less than this value. The higher rainbow effect will get. In refraction. You see too much. Very oh, and organic. Look. Maybe five would be okay. So we set up the shader and almost I show you the hint how we can color and manage the over the overall look of our shape. Let's go to the next chapter and finalize our composition with setting proper lights. 4. Lighting and finalizing shaders: Made our base shape. And maybe we go into shader, maybe said tiles even higher, so we get naught. So B-C, these dots, maybe bodily zones. And I would like to check if I can invert and the bump. Because I want this area not to be inner, butt out metal. Like in Photoshop, I mean, minus 3 and it starts to pop up. I'll keep this, maybe minus 10. Let's check. She. Minus1. Quite good. I like how it looks like a bubble inside deformation, a good elements. Now I hide my area light, creating new, Put color to it, and then rotate 29 degrees. And put to the top. I would like to uncheck illumination in both. So not to create black and white. Viewport, we create some purple at the top. Moving front view, Duplicate, rotate. We can duplicate with holding control. Though we select our axis holding control and move. Or you can use Control C, Control C Control V. Standard Control, Copy control, insert, copy, insert, workflow. Then other color I said maybe to bloom. Decrease the intensity, of course, maybe to ten. And now what we get is that we mixing our shape with color based on area light cue. We can play with it. For example, I would like to have more bluish colors here going to the top. Yes, we have this purple. One. Of course we need to decrease intensity to 10. Maybe, put it to the side. So we have these little influence of purple color and major one, extend our area light. We see it creates reflection on the side. Decrease intensity or more. Create one more slide. For example, I pick something on opposite pure range. Set it here. And you see that moving my light, I can control the zone where the specular would be. The back to the front. And very subtle orange. Let me set it may be to read one. And now I can go to my visible light. Visible, set it, maybe it to disk, and put par below of my shape. And you see that it creates this inner glow effect and put it to the side. I can easily let me decrease it. Play with its position on shape. And this allows us to create very artistic looking grand year crystal. Maybe it's domain geometry. It very unrelated to texture you're using. So if we hit Change the tiling, you see that we have a lot of these higher roughness value. And our lights start to refract very different way. So you have to play with texture, find proper proportion entirely. I'll keep with low tiling. So we have this roughness and high roughness and less roughness zone. I can go to my ramp and maybe decrease this. Pure white, maybe to less white just to check what we get. We still have roughness zone, but it less visible. Also, we can play with contrast by moving these nodes closer to each other. And this is f2 are detectable workflow. If you change the texture, you'll get another result. I have another texture here, though, I replace the naming and you see, we get another final result. We have to manage our surveys in roughness. Let me check what we get. You see it less wrong. Then thus one, and we get more glossy zones. Let me get our texture back. And you see how visual change according to our playing with roughness and changing textures. But I want to show you what is the main profit of these highly procedural workflow and how we can improve it further. 5. Final tweaks: Disable our rendering and put the geometry out of our volume, measure volume builder disable it. And great new norm with geometry, shapes and put out. For example, spheres. Here. Now we select our spheres going and create instance. We did here, height, geometry, shapes. And now we get the same result. But with instancing, let me check what we get. We have instance above our SDF smooth. So we said the proper hurricane and why and why we need this. Because if we want to create, for example, not spheres, but put's, we can go and create new shape. Go into cloner. And I would like to create something more like crystal extended or lights elimination disabled. I and F, just to see better. Our geometry. I rotated, decrease Qc scale, holding team, add extra size in y. Well into our geometry shape. Now we have this girl instance. And all we have to do is to drop our cubes to reference objects. And now we get crystals. Very fast and intuitive way. We can, I think, even change the position of this cloner. Because our Gail is referencing two cubes, 0 and rearrange composition, not moving lights or camera. We can go to another way. We can create. For example, let me take the doughnut shape by rotated Control C or Control C, Control V. Create cloner. That too. Cloner and set object. The first platonic holding TM, decreasing radius of inner platonic shapes. We have something very organic. Create new random, create, new random effector, clone effect a year. Random here. 55 by illegal random interpretation, was 60. Scaling. Yes, there's good. And now I create new holding, naming it platonic. Move all these setup, they're going to geometry shapes and relink reference object with our Gail instance. And now we get something more like platonic. Of course, we have to extend it. And at this stage, we have to change as they have smooth to something more accurate. For example, mean curvature. So we keep this sharp edges and we get another look of our shape. Of course, platonic produce some messy result. Let me go in question. But cubes works very good. Of course. Going to Volume Builder as they have smooth, more sharp edges and we get more crystal looking shape. Now you can play and create a composition with very fast workflow. You see encouraged it doesn't work good with spheres. We need more smooth shape. This class is over. But I would like to point your attention that are using Auto Sampling. So we have threshold 0.10.1. This is all you have to set to produce high-quality results. If you would like less grainy, you can go to up and to high preset. It gets lower threshold. If you have RTX card, you can check hardware retracing if if available, and sometimes it can gain you 10 to 30 percent. Render accelerate. Of course, we don't need global elimination here because we have only refraction and reflection. And if you decrease these combined, that you can optimize your image even more. But sometimes you need to extend this combined them to have more reflection refraction and reflection and refraction to a higher level. It's up to you just, you have to know that combine depth using mixed but reflection, refraction and transport death. And it cut some of them. So for example, if we see it to ten, you can get some reflection and refraction cut. You'll see that a decreasing and we starting to losing. For example, refraction here. And three and less and less and less. You can play with it. And up a bit higher than default value. And you will get very sometimes interesting result, crystals in few clicks and one texture is ready for your dailies or project. Thank you for your attention. And kevin, ASD.