Create A Floating Geometry Array in Cinema4D | Dylan Slater | Skillshare

Create A Floating Geometry Array in Cinema4D

Dylan Slater, To conjure images of the future

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8 Lessons (28m)
    • 1. Trailer

      0:30
    • 2. navigation + hotkeys

      3:08
    • 3. spline setup

      3:16
    • 4. twist deformer

      2:40
    • 5. lathe + atom array

      4:38
    • 6. Full Array

      4:04
    • 7. symmetry setup

      4:19
    • 8. creating the material

      5:22

About This Class

In this class we'll go over how to model the pieces, create an array & light the object using an open source soft box

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Transcripts

1. Trailer : All right. What's up, guys? This is Dylan from experimental render tactics. And today I'm going to teach you or destroy you, whichever you prefer How to make this image right here. So we're going to be going over. You know how to make this, Um, in cinema, 40 different render settings and so on. And then the purple part right here. We're just gonna do some basic color correction in Photoshop. Uh, do you feel like this interests you then see in the next video? 2. navigation + hotkeys: All right. What's up, guys? So here we are in cinema four D. I'm just moving that according bar down. And we are going to be going over making that image you previously sought. So the first thing that I wanted to do is actually not, uh, make that. But instead, I just wanted to go over the magic of hot keys, which I learned in the past few months from when I last made a class. So I'm in previous classes or videos. I did say, used these. The icons appear to navigate around. You can do that if you like that version, but I feel like hot keys are more comfortable. I'm something just gonna turn on the grid. Zeke, guys have a better view of what's going on here. So if you just want to navigate around like this, are you old Alton? Left click that you navigate that way so that salt and then one and left click is just too hand side. Decide and then two and left Click is to zoom in and out. So that does make navigating on the view port a lot easier. I should mention that the altar and click will move around whatever is selected. I'm so you can see if there's nothing selected. It moves around the origin. However, if I select this cube right here and I not start holding Alta navigating on, it will tumble around the Cube. Of course, we can reorient ourselves by holding one, and now the Cube is at the center of the screen. Additionally, there are a few other things. Actually, let's bring Bring a sphere in this time so one to navigate back to our sphere. If you want to move, let's say the year in. Rotate or let's say you're in translate and you want to go to rotate. Well, then you just have your object selected it are, and that will allow you to rotate it in whichever fashion you choose. Alternatively, if you're in rotation and you want to get back the translation ah, then you can just hit E. And that will allow you to translate. You notice here. Now that I've rotated it my spheres a bit off, so I'm gonna hit R. And then what I'm going to do, they're going to grab the little gumball slices here, and when I hold shift that will actually move it in increments of 10 degrees. Um, so let's just see you. Let's go for, like, 10. See how that looks probably going to be a bit off, so we'll do manually move it into, I don't know, five degrees. That's where we are. And if we wanted to make this feel like bigger way to set t for a scale and that will scale it in whichever way, I think spheres always scale the uniformly Whereas if we had a pyramid is getting rid of the sphere, select their pyramid T for scale skillet this way. Oh, yeah, I guess it does scale uniformly as well. All right, so those are just some basic hot keys. I should also mention there is a little drop down menu if you right click. And that changes depending on what you're trying to alter in the scene. Right? So it's just basic hot keys and navigation Now onto the fun stuff 3. spline setup : All right, So now we're actually going to get into modeling that piece you guys saw. So what we're going to do is we're going to navigate over here to our spine objects, and we're going to choose a formula now. Formula I don't see used that often, I'm sure. Although I'm sure it is about Justin Secret. What I like about the formula spine is you can actually go in here and alter the the equation, which it's running on, so you can get some pretty interesting shapes in a hurry us. What I'm going to do is I'm going to go in and just edit this a little bit. Um, I'll admit this piece that I made is a bit old. So at the time when I was making it, I was reading this book on, I think, trigonometry for designers. I'll put a link in the bottom of the class to, uh so you guys can check it out for yourself, see if then interest you at all. So that sign is I forget if it's this way or that way. Um, yes. I don't remember the exact reason for this equation. I think I just kind of messed around with different variables until I found something that I liked. So x I just put sign in between the 100 times in the team. Also, this little star I is computer representation of the multiplication symbol. And then if we had a slash, that would be the division symbol. All right, so next in the UAE section, we're going to go in, and we're going to do a bit more than we did to the, uh, ex section. So we're going to go, and we're going to add another parentheses on the left side. There we have pie here. Uh, she tends part. We're gonna leave that alone and then out another star. Put the two so that it's everything within sits t times pi times, too at another parentheses to close it all off. And now it's 100 times sign and then tee times pi times to sell. Its pretty good How we're gonna leave that alone so you can see already. We're getting some, you know, some difference happening here. Okay, Now, for T minimum, we're going tohave it being negative. 22 fu man, that's crazy. Who I like that actually, we could just leave it like that. But I don't think we're going to for this class, Uh, next for the team maximum going to make that into 13. So already you can tell that that's pretty intense. Something's happening here. And the sampling all. Let's turn this up because it is way too sharp. I'm not comfortable with that. Let's get that to 63 man, that's crazy. Alright, an X Y plane is good. Let's put cubic on it. So it's smooth. That's better. That's what I was looking forward of. The samples, actually. But now we have more opportunity. I'm so cubic will just make it smoother. If you guys wanted to keep that sharp, I welcome you to do. So, Um, I think I altered this angle. The six. Let's see if it doesn't, it is a little bit, so maybe let's leave it at six now. The next thing we're going to do to make this formula really weird eyes were going toe at start working with the former's, so that'll be in the next clip 4. twist deformer : All right, So now that we've got our formula set up, we're going to go into our deformities over here, which is the purple guys. And we're going to grab a twist. Um, dear former and we're going to put that onto our formula. Now, on this thing, of course, it's all set up and you can see 2 50 to 50 to 50. But this the twist of former really does depend on. Oh, by the way, I like to hide the reformers when I work. So I just hit the two little dots, right? Human that hides it from the view port. The top one, The bottom one is for the for the render. So the twister forms totally depend on this angle right here. Were you actually going to go into within box? I'm just that it only effects things that are within the fall off, which is these purple lines right here. So I'm just gonna hide that again. Now the parameters for our twist uh, wait there. I'm going to do. This is I'm just going to show you guys exactly what I did, and then I'll leave it up to your discretion, Whether you wanna remake exactly what I made or if you are interested in making your own thing, which was, you know, which, whichever you prefer to do. So break. Here it's to 42 to 40 and then 1 46 So if we turn our from here back on, you can see it's slimmer and it's just slightly shorter and not as wide. All right, so let's get out of there again. And now for the angle set up, Um, we're going to make it fairly dramatic. Let's bring it up to Let's go for, like, 82. So right there, that is a pretty good I'm liking how that's looking. All right. So I guess, um, the next clip, we're going to go over how to make this solidified because even if we bring a light into here, let's see, remove this light over. We hit render. There's nothing happening. There's nothing going on. Even if we go into a render settings. Goto effects hit global illumination that's turned on, uh, and we click Play are not sorry, not click play. If we just do render preview, which is a spun right here, there's still nothing going on on The reason for that is this has no mass like it has no solidity whatsoever, even and even for the computer weakened physically view it. But it's not represented as anything. It has no polygons, so that's what we're going to do in the next clip. 5. lathe + atom array : Okay, so now you've got a formula set up. We have a nicely bent it around is a big plus on. And so we're going to bring this into the computers physical world, and there's a lot of different ways we could approach this for today. I'm going to use a lave. Um and I like a live because, Well, that's fine. But I'm not, like, not too much. We'll fix that up. So the lady will. Basically, if you look at this where it says angle right here, 360 degrees, that will just bring a certain shape around, uh, basically around, I think it's the Z year, the Y axis. I forget. So I will bring it right around here to give it some solidity. And now, if we hit, render were able to see it. Perfect. So in the lave, um, we don't even need it to be 39. Let's maybe drop it to 36. Just would solidify it enough for us to look at it. We don't need it to be too wide. Subdivisions just bring it up. One make a little bit simply there a 25 ice apart. We're gonna leave that alone. But the movement we are going to do, and we're gonna drop that movement way down, it's get it to like to 66. Something like that, Right? So that's looking a lot better. Um, I think the aesthetic that I was going for when I was making this was sort of something like Gothic aggressive on the outside. Maybe in the middle. I don't know why I chose Gothic. That's what came to mind. But this right, this feeling to me right here where it's just sort of this hard panel with these sharp angles and then these ah, smoother angles that are running up very dramatic. It sort of does remind me of Art Deco if we're able to isolate it, but because it's fairly aggressive shape, it just feels a bit more Gothic to me. I don't know. Um, yeah. So right now we've got our leave scaling 100%. That's good. All right. So you might as well toss and Adam Array on there while we're here. Um, Adam or Ray? Here we go. So the Layvin there? All right. So, of course this these the size of the size of the little spirits here. Sorry, I'm a bit off today. Ah, the sphere radius right here is way too big and even the cylinder radius I don't really like. Let's drop this down. Let's see what one looks like for both. There's one. Ah, pretty good. Although I'd it's I think it's still too thick. We won't be able to really see through that section at all. Just turn a grid back off. Where we're here is we need get of interview. What's going on? So I'm gonna try to 0.5 and might as well bring the sphere Greatest on the 0.5. No, that's looking a lot better. I'm good with that. Right. So now we've got our Adama race set up. Um, we've got it all leave. And if we were to just render this out, that's yeah, it's good, right? That's sort of what we're going for. Although I should mention when you're working in Adam raised like this and you've got you know, so many tiny cables, everything is going to take a lot longer to render, like, especially if you put G. I and you know, have been seclusion on there because it has to calculate the light for every single face in every cable rates. So the object tend billing later on in this scene might get a little bit crappy. Um, I had some I've had troubles in cinema 40 before where, you know, I was making I had a bunch of different objects. Some of them were key frames. They're moving around. The objects were semi complex, and it was just super slow in the view port. So you can just sort of turn things on and off when you want to see, what does it look like in total? And then, if you want to add it, just certain aspects are you can turned parts of the hierarchy off, and then you can turn it back on to see Okay. Now, what does it look like? And tweak it that way so that your view court isn't a slow. It's on the next clip. We're going to be cloning these out, getting it all set up. And then after that, we'll move on to materials. All right. See, there 6. Full Array : all right. So since we do have our Adam array or leave set up everything like that, next thing we're going to do, they're going to go back to our raise over here, and we're gonna just drop our Adam array into our standard rate. Um, now, by default, it is just going to arrange it in this way. And even just something like this was interesting. I think originally when I made it, I debated, Ah, just keeping like that because even this is a fairly interesting shape, you know, like because of the twist and how the how the movement is arranged on the lave. It sort of looks like the outside is actually sharper than the inside, but in reality, they're essentially the same. You know, it's just one side of another thing. So there's a basic array, um, what we're going to do for the arrays that set it up to be a bit more interesting. We're going to bring the radius obsolete just a bit farther apart. Um, I want a lot more copies in this will. Not so many, but we're gonna make, like, 13 copies this array, Just that there just you have more options. So there's died amplitude. Oh, man, this is coming way up. We're going to go to 523 for amplitude. Now you kind of just have to met. Mess around with this to grasp, you know, what is it doing? But I'll show you little live action version. So if you bring the amplitude down, it's in the autumn array off just second load of it faster. I think the amplitude will. I think there's some kind of sign function that's running through the circle. Um, so if we adjust the amplitude, you can see some parts of going up some parts of going down again. I don't know the exact math for this. That's just what my assumption would be. Um, and I liked 523 cause there's still close ish, but it does look like there's some variety between each of them. Ah, the frequency. I didn't really like that the way it affected it, so I kind of left it, but the array frequency, this is really interesting. Ah, the array frequency. You can mess around with this and get whatever choice of movement you want, but you can tell there is this guy right here. If you watch it, the array frequency does not affect him. So I guess, Or her Whichever, you know, whichever you like more. Uh, this one piece right here. Hey, I guess, is the original one. So all of the other ones which are moving around when you alter the array frequency, that is the those are the ones, I guess that are nested in this array. But I'm I just did 10.1 because I sort of liked the way that that looked on. So now we've got our rail set up, and if we in another class, I'm going to be talking about cloners and you when the correct time to use instances is for this situation. Instances, I don't think is very helpful. Um, of course, now it's good because it helps us with our object handling, like instances basically just means instead of making 13 uh, that would just hide this 13 of this object. I guess I should rephrase that instead of saying Here's one now make another one and then 13 times instead of doing that instances is basically saying, Here's an object, but at this point. It's located here, and at this point it's located here. So it just it's just 12 last things for your computer to think about. All right, So after my very professional explanation of instances, we're going to be going into making making a taller, more symmetrical, and then we're going to be going over materials and some lighting settings. Right? See you there. 7. symmetry setup : All right. So we've got all our stuff set up this far, which is good. You can tell already with this angle. Maybe if we could get a going diagonally, it would be a lot closer to what we originally looking at. But before we do that, we're going to head over here into our race section, and we're going to grab a symmetry object. Now we're going to display up our whole hierarchy into the symmetry object. And it is going to have to calculate, um, twin basically of everything below, like a ray and below. So do give it some time to calculate all that. And if you want to navigate around, I would just recommend turning the autumn Marie off. So you get this solidified leave, and then you can get a better look at what's happening. So this symmetry let's go to see if I can get a good top. You Oh, you don't want to do that. So symmetry is I saw it. I like to use it sometimes. Other times, I think, No, this isn't a piece, but symmetry basically just takes whatever they're already is and mirror that, and so symmetry is really great when you wanna have things like this which are matching, or you just want to exaggerate a certain effect I use. I was using symmetry a lot, so you can see here now, this is really art Deco style. This piece right here. So if we turn that symmetry off, we totally lose that effect. But soon as you turn it back on again, every one of these has that which is, I think is great. I'm so next. What we're going to do is we're actually going to go in and editor symmetry a little bit here. The tolerance is just, um I guess it's better to just demonstrate it for the tolerance. The way I understood is how much the side of that is touching the other object that it's supposed to be mirroring. How much of it eyes going to be welded. So I turned off symmetrical. I think I'm going to keep that on before I didn't really like it, but I think now I'm going to keep it. So tolerance of 15 you can see if we bring it down. How much is it welding this center part together? So it's up to you guys. How much you wanna welded? Um, I think I'm actually not going to have it. It 15. I think I'm just gonna keep it a 10. I kind of like the way that that looks right there. Um, let's turn at Emory back on and have a better look. Just going to give it a second to calculate here, because now it has so many more things to re atomize. All right, so that's actually looking pretty snazzy if I do say so myself. Yeah. All right. So I'm good with that. Um Let's, however, let's go into the awarding its here just because I remember I did added and move this around so we could get that angle. Like I was saying before, and the amount that I ended up moving in. Let's go into the coordinates. 38. Sorry. 348. I'm gonna do 3480.6. So it's slightly over here in the why we're going to have negative 437. So we did drop it down. And the Z, we're going to have it be 200 hopes. Yeah, 247 0.9. All right, cool. So there we have it. It's arranged well. Except for one thing we need are bank to be negative. 41.6. Perfect. That's looking great. Oh, man, I really like that. Let's see. Let's zoom in right here. Oh, maybe that's a bit too much. That's a bit too much I'm gonna do on our negative 31.6 year old Alex. All that's a lot better. That's perfect. So now we've got our symmetry objects set up and it's arranged properly. Um, in the next clip, we're going to be going over materials and lighting and then possibly render settings. 8. creating the material : All right. So, uh, we're most of the way There really were done, at least modeling our physical pieces. Next, we're going to go into the materials, create new material, drop, jump in here. Um, for this material actually turned color off. I wanted to sort of a darker look for this, cause when I was making it, I think I just had one or two. What? Another angle Sort of reminded me of that black knight satellite that sometimes appears above the Earth. It's like this semi conspiracy theory that it's ah, alien observer. So on and so forth, you know, just one of those deals. So I saw this picture of it, and it kind of reminded me of of this, and although some people are telling me this sort of reminds him of skyscrapers or something, maybe it's because I had a sky objects in there were gonna be We're going to get to that after I'm such the long version of of that story. So it's going to a default speculator right here. We're actually not going to add another reflecting slayer. Basically, we're just going to go into type and instead of blend, we're going to choose back men. So it's more reflective. Attenuation additive. Yeah, Let's leave it like that. Ah, roughness rag. We actually only need a boat. I'd say 22% roughness. Reflection, strength. Let's bring that right up to I don't know. Yeah, 75 or 70 is fine. Maybe I'm just gonna drop it to 70. You don't want it to be too bright. Um, And speculator strength. 20%. Do you have a good with that? Now, the key here to making this dark again, even without color, is we're going to go down tore layer color here, and word is going to choose a friend. L That's going to be ah, about where About all we're going to do. Um, if you guys wanted and you wanted to have, let's say the material be one color, but the reflection be another color. We can actually go into the layer mask, texture and shoes, for example. Ingredient. I'm just gonna quickly set this up, because maybe I do want to have a layer mask, so I'm going to shoes. I don't know. Not an orange. Maybe a nicer closer to read, I think. Yeah, like that. I'm known this side I'm going to choose. Let's see if I can find some kind of purple or something and let's make the turbulence way up there. Uh, try absolute, yes. So the absolute just evens it out across and it's active on the turbulence is too high. I'm just gonna drop to two so you can see with two octaves. It's sort of smoother, more like tie dye shirt. But if you bring it up to five, then that the turbulence does become a lot harsher. So, like the drop it to two when I do this. Um, but I don't want it to be purple and red like this is this is too strong. So I'm just going to drop the amount way down to like, Yeah, I like 18. Maybe we can drop the mix strength as well. That's actually what we wanted. This we don't want to drop the mixed strength it to Whoa! Where did he go? The amount up, Teoh. Yeah, let's go to 24. Maybe drop the mixed drink down to, like 54 just to give it a little tinge. And if we don't like that, we can always go back and change it, of course. So now we're going to drop this material directly onto our symmetry object, and again give it a second to calculate, because it does have to go across every object in every little face and cable we've made here. So it could take a while to calculate that. Um Okay, so now we can tell that it's been calculated cause this thing is dark, man. Um, I guess since we're here and end of the texture tab menu, I recently discovered that seamless actually means that your U V s will be fluid across the object. Now what do you ve is is you can picture like X and Y coordinates. This is the way it was explained to me. So it's X and Y coordinates, which are flat, and then z direction, which enters the third dimension. So, like, let's say this is X. This is why. And here's easy going up. What you These are is there basically like X and y's, but they're X and y's across three dimensional objects. That's the way that I understood it, at least in reference to materials. Eso the seamless is just going to say, OK, you know if it admit, if the material goes and goes and goes and ends here, well, it's not just going to create some kind of sharp line. And then that's the end of the pattern you can tell. Oh, it's obvious, you know, that that that's just some kind of free made, dropped on pattern. But I'm clicking the seamless over here. I'm just going to spread across the whole object and basically not show through that. You just dropped it on there. So just saves having to make UV maps and painting it on by hand and so on. All right, so now that we've got our material set up the next video, we're going to go in, set up our lighting and set up our rendering.