Cinema 4D and redshift: Complex plane and trail | Alexey Brin | Skillshare

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Cinema 4D and redshift: Complex plane and trail

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

4 Lessons (33m)
    • 1. Overview

    • 2. Building the Scene

    • 3. Creating Texture

    • 4. Using Texture with Redshift

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About This Class

In this class I`ll show you how we can create animated trail element and simple scene with details. I`ve mentioned few free software:

Free plugin for After Effects workflow - FxConsole

Displacement map generator - Jsplacement

Software: Cinema 4D (R19), After Effects (CC 2018) and Redshift Renderer

Meet Your Teacher

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Alexey Brin

Motion designer


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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1. Overview: in this class. I'll show you how to use texture for creating light trails, which always looks incredible. In three D renders, we use other facts. Red shift in cinema foodie, not one screen. You see the result of this class and if you like it unless start to explore their techniques. 2. Building the Scene: we start to build. I was seen from the playing and permit texture from Jesus displacement, which I affect bi polar coordinates. So of this is around PNG, you'll see the simple and how it looks. We gonna apply to our German and to greet some and to use their height as a displacement. We'll have to add red shift object going to add Sigmund's and be sure we have a lot of signals for these thing. We add displacement. These placement create texture, ticks map and connect to displacement. And let's material dragon to face. We go to enable displacement and add displacement high so maybe 40 and create light the site to see if they're right and shadow zones. Let me extend it like these. Put it maybe to the site. And yeah, you'll see that you have already complex played. I create camera and put it toe 00 with zero angle. Create new and parent camera to know. Now we can play with no for crating around Rick. I'll skilled it no and find proper angle. It's a bit trickier, and it's up to you how to play it go into view and time borders at the top of the bottom. I said to opacity 100 to see our frame clearly and let's play with animation. Maybe going these maybe with extra angle Keep your friend going to the last frame date. Maybe a little bit. Yes and OK, control a spline to lean interpellation and we have smooth Oh, I think we have to pass smooth animation. Now we have to play with our displacement our material To build their total scene, I scaled down their relight going to red shift and you'll see that I used brute force. You can use snowbird Force, but now we have dark shadows. I add brute force one bones for any extra light now going to texture and maybe use ramp connect texture to input and toe diffuse. So we have black and white texture, not Onley in displacement Weaken color it but in color and Criscito zero and I would like to add bluish color Something dark. Well, too much dark play with column maybe beat san at some and going to light heading, Dance with him. Maybe playing with this Darragh zones. So we have very contrast a material in Colla. No, we play with roughness So would get speckle er and rough material. Know what Creed s center tube? Maybe with dark material, but with roughness. Apply two cylinder and pop it. Love the camera, making it less thick. Create copy extent. So we're just building. Simple Seen. Now I pair is helping us to see where we're work with our displacement. So I would like to bottom element cover our displacement. No, I think everything looks nice. Disable rotation. Maybe pop it. I'm in disable position animation, but keep the rotation. Create a few sewn small one big one. Think one you'll see. Not their offense. It is playing with primitives. One more. The big one. Ah, let's selected, going Teoh, Fill it. We need small caps. Feel it's on the edges and add extra segments just to have smooth granite. You'll see that we cover displacement, and now maybe we can degrees it. So we have no intersection of our German tree. Let's check the animation so simple. It's were basic and what we have to do, going to materials, maybe decreasing the roughness too much. We have to find the balance, and reflectors may be decreasing their Iowa create. One moment Ariel and I would like to have almost similar materials, but with slightly difference in different suspects. And now it looks more organic, more aberrational. And I would like going to sign just Sealand. Ah, there for father. Aunt now would get two materials and the base one off played always seemed, is almost ready with great, maybe something more. Some details. Just Teoh separate or too complex. Our top cylinder. Maybe using Kleiner with radio. Let's find prop up plane radios to zero, and now we can create these segments. You'll see the adding extra details. We're going to fill it and they looks like cylinder. We can find the balance of detailing. I would like to add these roughness material to read. Pretty simple, pretty interesting. Add more light because too dark at a few variation. Now we have the rotation. You'll see that we have everything good, but there are some issues at the bottom. We can play with this edge length there more maximum subdivision we use and there lowering minimum edge length. They detailing our dream tree will be so you can play with zero or one or maybe two to find proper extrusion of displacement will see here we have some backs, but ah, even when you playing with displacement, sometimes you can't fix this thing and you can use it for far. No to close up frames. I play with cylinder to extended. Let me try. Maybe a higher value off subdivision. You'll see it takes a lot of time, but dozens off our problems so we can optimize. Our scene didn't change 16. Nothing happens, so we can. Otherwise I was seeing with proper value, not to have extra details, extra calculation, and this is it. 3. Creating Texture: let's going into after effects and to play with creating texture for our effect. I create the huge in with Maybe like this. We're gonna greet some shape players. I prefer to use shape players and not players like solids. And now it's great. Our effect. Maybe we'll start from there were a basic shape. There were basics. Texture. I use fractal eyes. Let's change to block decrease their complexity. So we have these cell noise looking. Now we have some animation. You see. It's very festive. Calculate nothing, thinks E and now leads at some complexity and other thing. I use FX. Consult from video copilot and now Houston for Rick Coloring. Maybe we'll use of initial blinds just to add these cutoffs. Huge cutoffs were trying to Mitch our nice, but I think we have to keep these like this. And we duplicated initial blinds ready tonight degrees, and now you have this mosaic cut off. Let's play with transition compassion with Yes, nice one. And if we're hit play, we'll see that we have these beautiful morphing. Now we have to go to levels and add extra contrast. Toe our noise. It's easier for me than playing with noise settings pretty organic at maybe some more contrast. And I think the result we have good So we can keep to, uh now we create one more there and optical flares. I go in and said, Collar maybe toe orange. De ending our white to orange and going to options clear. All in all I have to do is to have glow in this line. It's, um, scaling, positioning, said animation from bottom side, toe another side. Maybe a lot off. So we don't see our flare in frame. Zero Almost no see. Move it down to the left key framing. Move it to the right a lot off to the right so you'll see that it goes from one side to another side. Where is it? And now it goes very slowly. There's gay going to ed, and now it makes without noise, texture breeding. Nice. We're going to it. Mosaic. Just Teoh, create this block. Look. Going to levels may be degrees there. Lightness. Let's play the preview. Yes, it looks like threshold. And we have this bloke. You look off our standard optical flares effect. Now we can rename it and move it to their composition duplicate going toe, maybe a coloring at speed up. One just to have the loop. Maybe flip vertical one. And of course, we have to retirement so we don't have their similar animation bottom and the top. Now we can go here maybe to pick a bit aiding flickering. Let's plain chick. Yes, it's flicker bit. And here we have there update. Maybe going to decrease the scale too much. Yeah, pretty nice. I think it's almost radio. Let's at a few more details going toe composition. Add one more optical flair, maybe to their right bottom. So it will be the head off our light going to it mosaic once again. But maybe with another settings heading, playing with medical books, fighting proper or look you want. I think something in between. It's very large playing with collar, just small variation, maybe brightness, and you'll see that we have a very bright the right side of our element. And I think playing with vertical blocks once more horizontal, just finding the proper value. And no, we going Teoh add maybe little's play with levels to add extra co interest. Let me let me let me think so, adding speed to flickering, of course. And now we have yeah, flickering right side and these bright optical flares going from left to right from left to right, and they just covering the whole path off our texture with different speed. That's great. It's very interesting. Now we have to create one more. She played me with rectal noise and going set toe black, changing the contrast to have this Onley black and white highly contrast elements I increase their with decrease the complexity. So we don't need a lot off the deals for this thing. Extreme size, maybe scale of it or put it to the top so we don't have their toe a plein. I think these looks nice and we can working with brightness that will play is fate instruments. So like this maybe at extra brightness yet with have fading in very first And now we're going to put compose this thing is a real map and create one more with me Beer ramp from left, right, we're going to pray Compose it. It's like time this place is and now we can use time displacement going to use our ingredient. So we have fading map. It used our ingredient. So swept. So with building from left to right, we have to a plea with white collar. It's like of settings wedding, maybe 50% in great. And yes, we have this building off our mitt. Now let's move there black to their right and you'll see we have these gathering. Now we can add his stance, a luminous that we have building off our flares and all this stuff from the left. Here we have. Ah, what texture? Maybe playing a beat with some initial bland's Teoh. Keep them maybe a bigger just to be more visible. And now, with chef building off our elements, that's going here so chicken would be getting. And maybe it's, um, length. So finalizing their result maybe a a beating or degrees in brightness. Adding Contrast the speed. Yeah, looks nice. It's flickering. It's morning. This result we're going juice in three D 4. Using Texture with Redshift: so before continue, we have to fix our edges and, for example, you can use based texture, and you can blow it in photo shop with motion blur. Use The blurred version for displacement is this same texture, by the way, the blurriness. We can connect it to this place. It's practicing. You'll see in tow here and after persisting, I think we'll get some result. Yes, it looks and another way, and some off zones looks great and some not. We try to fix it. Ideological off red shift Is that it? Playing with segments and the Maxim subdivision. It's like subdivision surface and they're more subdivision, you add. They're more public once you have, and the more detail yourself free. Sometimes it worked with three or five and lower segments. That's said to default, and now we can play with displacement, make some subdivision. If result we're getting is pretty close to what we I want to achieve. We can go to our primitive and try to twice there with, and sometimes it doesn't work. It doesn't effect, but it takes a lot off more off processing power, so you have to find the balance. But we in with settings. You'll see there is no effect here and here we have something and decreasing to 40 and increasing toe Maxim subdivision to 12 dozen effects on results. So it's not the perfect technique Time you have to remember that in render it can looks better. So we find some values may be like this. You'll see that minimum wage slaves, they lower this value, the cleaner their result. But of course, it takes a lot of more processing power. Sometimes out of it maybe can affect this. Ah, edges and you'll have toe check it. But in our case, it doesn't effect. So we keep this elements as is and let's play with our Renda were made in aftereffects. Elevated texture. I rented it as a sequence we're getting here going to composition. We can select the first frame going Teoh Animation folder and we have toe said simple to the creams and connect maybe to color anything even Teoh Alfa. Now we go into reflection, transparency shadows, so Ah, well, Luminess Channel doesn't affect our shadow. Now we have to create blade, which will be there's a face on what we're gonna protect. Oh, uh, texture, we're using ARC segment and let's create ah animation. Let me move it. Do there position. Let's play with orientation. I think this one. Yes, here we have our part. Let's play with spline. Drop dropping out there now. We'll have to play with excess correctly. Let's play with orientation about played. No, that spores there. Rendah. Where is it? So something goes wrong, Blaine. Nothing goes correctly and let's go back to our sprang up and just repeat Yes, it's a K. Now we're gonna play with height with doesn't matter. But we need a lot off details going toe arc and what we have to do. Let's center our composition into group and hide it. Now we're going to angle and we have this animation. We're going to keep our length so if it's blind, But I think we can said this from and to just to these segment. Now we're going toe art segments and oh, I see the type is said to segment and should to be toe arc, and now everything works great and we're going to explain rap setting to tow 100. Now we can, at some segments in decreasing hired segments to have smooth extrusion at, uh, in cadets material. Now we're waiting for preview. For now, we can disabling of geometry, overwrite for faster preview. Going to camera on the center, going to elimination Intensity multiplier. Yes. Very bright going and check Their perforce is own. We can go and maybe decrease the height like these group it allergy rename it and we can move it to the bottom. The small one. No, we can create there Duplicate maybe at some with and height. Yes, looks nice. So we have the revealing off our bright element Maybe a duplicate one more off course Rotate just to have operation. It's, um, angle. Maybe it's, um or decreasing there. Height? Yeah, we have this bright head here and I think we can sleep our geometry. Yes. Like these and rotating duplicate once more the big one. Decreasing the height, rotate and almost ready. But here we can on our displacement just to see where would have into section maybe a put it here. Maybe to the bottom, maybe too much. Let's for this going to our and instantly player. And now we can see what we produce with intensity and brute force. Maybe like these and we have and reflection and brute force going on No, we can play with our intensity just to add more of it. No, two of a light. I was seen why and go. I think this looks nice, but over have to do is going and to a last frame maybe scale our playing a beat Just go find the balance of our composition No, we move and fixing some hate off our arcs like these going Teoh lowering sittings and let's render our frames We'll see what result will get Now we can put our no into the camera fuckers going to a rich of camera on both care enable and said the value So we have slightly depth of field off far elements We can render this thing out care of the result And we have building off arcs And it looks pretty interesting with this texture in this three d. But I think we can improve this thing because arcs Ah, aesthetic. They don't have irritation. I think these element off animation will improve our sin. So we're going toe our nose maybe to the last frame going to rotation in age. Fix it, rotate in different angles. One to three So beautiful animation. We go into animation if curve tweak it. So for fast, drop it here. The 2nd 1 folded up Deggans The 3rd 1 interpretation. Pop it, Let's play you now It looks more interesting. Even in hardware preview, we'll see that we have a small fade into the rotation to the end. Let me check it. I think we render it and check the result. Now it's almost radio. We have this animation and details and you'll see that result of rendering off edges is much more clearly than we see in my peer. So I think, Ah, what settings War they're good is we need and blueness help us and some everything looks great much better than I Pierre already. Check it. Ian Final Render Let's play the image. It looks more organic with all this rotation, all this animation with this details and let's play This is the static version and you'll see that with extra animation, it looks much more complex and finished. I hope you're like this thing has played and thank you for your attention in this class