Create a luminous glass object in Cinema 4d | Dylan Slater | Skillshare

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Create a luminous glass object in Cinema 4d

teacher avatar Dylan Slater, To conjure images of the future

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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

6 Lessons (34m)
    • 1. 1 intro

      0:26
    • 2. 2 glass sculpture modeling

      9:27
    • 3. 3 parameter explanation + glass material

      5:17
    • 4. 4 2nd sphere + luminant material

      3:42
    • 5. 5 HDRI, camera + render settings

      8:29
    • 6. 6 photoshop & final thoughts

      6:40
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About This Class

In this class we'll be going over to use glass, light, shadows, and deformer's in the context of new object creation. There's no better place to do this than in Cinema 4d!! we'll also bring our images into Photoshop & churn out a newly created image from zoomed-in elements of our glass object.

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Dylan Slater

To conjure images of the future

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Transcripts

1. 1 intro: Hey, everybody. And welcome to you how to make a luminous glass sculpture in cinema four D In today's class , we're going to be going over how to make both something like this right here as well as this one are these. They're made using the same techniques. So I'll show you this first and then we'll go in the 2nd 1 at the end of the class. That's something you're interested in. I'll see you in the next one. 2. 2 glass sculpture modeling: Hey, everybody. And thanks for taking my class. So we're gonna jump right in here and start off with modeling the object. First thing you're going to need to do is go up here to the lead cube and grab a sphere. If you don't have the lines on your spirit like this, just quickly go over to display. Click around trading lines that will get you the squares right there for this one. We're going to need quite a few segments. So I said it to 170. It just seems like a nice round number. And I always like to work with the ICoast spheres. I just feel like the triangles stretch a lot better than the square ones do. It also makes it quite a bit smoother when you use triangles. The next thing we're going to do is we're just going to quickly set up our cove ordinance before we get into using our def or MERS. I just like to do that based on what I already made before. This is sort of like a remake of the object that I showed you in the trailer, some just setting this up because that's how I ended up having it oriented when I made that original image. So HPV, I found out, is actually a reason why it's titled. That is, um, I think it's heading bank, and with this one is, But it's like aviation settings because of in the air. You're not able, Teoh. Yes, Since you have to orient yourself in three D space, they just say heading which I think is the horizon and bank, which is this way and that way instead of X y Z, as I noted in the last feel, wasn't really sure why sweats sort of the meaning behind HPV anyways, the next thing we're going to need to do think that's all set up as we head over to our do formers, which is this purple part right here. The 1st 1 we're going to use is a bend. If you don't know how Teoh activated a former, you just click and drag it right onto your object. And now they've been doing this fact to the sphere. Uh, I'm going to have set the strength and angle first because those are the ones that seem to do the most damage. So we're going to go away over here. 424. It's already looking pretty good. And the angle Let's go. 206. Try that out. Looks pretty nice. I'm good with that. For the sizing. Let's try. Oh, try 100 and 760 with that. Looks like Thanks. Pretty good. Uh, let's slim this out. Be, like 100 for think in case. In case you guys caught it, it does look like a doughnut. Now I'm aware of that. And the reason why we're doing it this way instead of having it as a sphere or Sorry, uh, doing it this way instead of having it as tourists just right off the But is it act? The tourists will not react to the same way that a bent sphere will. I found that out. I was test. I tested it with the tours and it actually doesn't work the same If you apply the ah shaping technique, the next two former we're going to need because I think we're all set up there with the bend. Let me double check here omitted for you. Looking pretty good. Fall off. I don't think we messed around with that too much. So we're looking pretty good. Far as the Ben goes nice, right? So then we're gonna apply our sphere. Our sorry are twist to the sphere. I don't know if the hierarchy of defectors we'll do anything in this situation. It could. I don't know if it will, but whatever, uh, for the twist, I think these coordinates are zero it out. See how it looks. Probably pretty good for the object from the twist. Let's bring this down to, like, 130 or something like that. Just try it out. Looks that looks good. This we're gonna need to bring way up like 1300. Uh, let's try. 35. Looks pretty good. And lastly, let's just pop this up. It's like 400 four under. Looks pretty sweet. Cool. I'll let's set this Teoh Unlimited. And as for the angle really gonna rev the twist angle all the way to Let's rely back in a little bit. Let's try out like, 715. Looks pretty, pretty good. Pretty nice. All right, so we're already getting I'm not super close kind of close will set out like this for the remainder It's not too bad. Actually. Going to say it looks pretty good. If we had just done it with I mean, maybe with the tourists, we could have done it. But you can see right there this fear is meeting itself again. And I just don't know if the tourists could get that exact same effect which were really after for this one. Let's just quickly check out the coordinates on this one. Yeah, it's too negative. 63 again. You guys don't have Teoh do this. I'm just setting it up this way so that we can have exactly what it was like when I made the original image. And, of course, you guys can alternate to be whatever pleases my eyes. And we'll just said it like that for fun. Nice. Looks good. All right. And let's make this fall from linear. Whoa! And let's make it why? Plus, I think everything else is pretty good. Uh, yeah. All right. That'll be good. Let's leave it like that. And for our last performer, we're going to go over here and grab a display, sir. Now, the display, sir, is sort of an interesting thing. If you want Teoh generate something that pops off so that this sort of that the object itself is deformed. What I frequently will do is go to your to noise and in noise, I for this one. I said it to Naki, which was kind of interesting noise. This octaves is sort of fun to play around with for our purposes. We're going to set it to two. Are changes toe object instead of texture. Check out this low clip. Let's bring it to Lake. I don't know. What do you guys think could go for like 42%? Something like that? Yeah. Let's go for 40. 40. Teoh, Uh, looks pretty good right there. I clap all the way down to, like three. 38 percents. Probably good. Now you can see it's popping out quite a bit. Uh, what else can we do that will make this a bit more fun? Can also. Yeah, I think that looks pretty good. That's pretty close to what we're looking for, Aziz. Well, as for the height oh, man, this is gonna be popping. Let's try out, like, negative 70 0 Mama. Right. And it looks pretty good. Um, so since this is pretty sharp. Now let's run over here, grab a subdivision surface and let's nest the sphere inside the subdivision while that's looking pretty crazy. All right. Yeah. Uh, since amusing Van de Kamp. I don't have too much time left, so we'll continue to alter this fear in the next one will see a 3. 3 parameter explanation + glass material: right. So here we are again, And, uh, I just wanted to quickly go over what a few of the things we're doing. So in the display, sir, where it says, object the height. If you do negative 70. That's how you get these rounded bumps like this. If you were to go in the opposite direction and let's say you did positive, 70 couldn't see that the bumps are actually still is still in here. Ah, but they're facing into the sphere, whereas the smooth part is actually the outer part. And I feel like the reason for that is because technically, since we've vented around so far, like that's the bottom and top of the sphere right there, this would be one side, and then this smooth part is technically the equivalent side. But it's not popping out as much like it's not as noisy on this smooth part because it's being so brutally stretched out like that. Anyways, I just thought I'd mention a few things. I read this article, you know, designers, air, still kind of using like a black box, like they're just fooling with parameters, and nobody knows what anything actually does. What something means, but they know what it looks like. And I have a bit of that myself. So decided Grover. Why, that is. As for this shader right here now this is what's called an Alfa. So the black part, I think, goes downwards with the white part is coming upwards. I think that's how it works. Since what? Like out in trough our actives? If we were to say change it toe one, I concede not. It's smooth because it's not. It's not occurring as many times object. I don't think this changes too much texture. Services object that doesn't really do anything. This low clip and high clip definitely change things that could fires. Did you punch a low clip? You can see right there Totally mangled. It's gone right down again. Verses If we bring it over here back to 42 gets quite large. Figure Was the 42 Everyone stressed about it too much? This time I clap. Yeah, I clipped Definitely changes things as well. I like it. Write about it. 38. That seems good to me again. You guys don't have to use knocking. We could use electric if we wanted. I do really like electrical, so I might keep it like that. I don't think I will. Sometimes they'll try a few different ones when I'm doing this. F b m is kind of intense. No, to us is that it's actually pretty cool to not what I'm really looking for. About over. That's pretty good. Uh, yeah, maybe keep like that. I did originally have it, Naki, But I kind of like this one. Look, so you can just bring that back. Well, let's bring that back down again. And, um, I think that's all I wanted to say about that super fast. Uh, next thing we're going to do is we're going to go over generating the materials for this, so we'll go over the material. And I made that. It was nothing too fancy. This one is will turn color off, reflecting its off. All we're gonna need is transparency. I tried out Diamond and Diamond. I thought would refracting most light. It actually did not. I think I got the best result Release the one that I like the most out of plexi glass. Or I don't think it was a real emerald, maybe. Anyways, well, to stick with plexi glass. That's just to give it the, um just to reflect just to refract the light and all you need to do to create a new material case. Even catch was, you go here, create and you hit new material. This what it comes with standard is color and reflecting. It's just sort of that flat, great material we don't not gonna need either of those right now. We just need it to be a glass material was two ways to apply the material to an object can either click and drag onto it like that. And this is a normal look for glass. Or you can also click and drag it over here to the object. Whichever you want to do is fine on if you wondering what it would look like without the subdivision surface quite sharp. I prefer to use six and makes it smooth. And these little check marks just allow things to be seen or not seen. This is what it would look like thought each of the defectors, um and also, if you want them to not be seen in the, uh, work screen can just hit Thies this upper and dot and that will remove the object are sorry , the displaced airlines. Sometimes I like to do that. If I need a cleaner work environment on the next video, we're going to go over making the glowing sphere and the material that for that, so we'll see when the next one. 4. 4 2nd sphere + luminant material: All right, so now we're going to make the second sphere. And of course, for that all you need to do is over here to get a sphere and let's bring it to the four a little bit. The this these arrow things are super useful. You can also use these to navigate around, uh, control Z. I frequently won't do that. Um, when I navigated sort of like teas Either these or this How you can also accomplish that by holding old to navigate and shift two. Sorry, shift Teoh. How I guess you can't do that. And this. Oh, yeah, let's in. Raina worshipped. Was Japan. Yeah. So if I guess for a panning, you just have to go like that. And if you want to zoom in and out, you couldn't do this. But frequently, I'll just hold all Just hold all to go like that, navigate around, have a little a little look and see what's happening for this one. We kind of just need enough segments to make it smooth. 150. It's probably fine. It's making ICoast again. And for our purposes, we're going to nest it right in the center like that. I think it's Yeah, it's gonna look pretty good. And then we're going to make a new material for this guy. And for that we are again going to turn this color off, going to keep. Also gonna 10 reflections often this time going to go into the luminous channel and turn that on on. We're going to upload a specific texture. I have one in mind. Um, you can either choose some of these, which is nice, but for today, we're actually going to load an image texture. And the one that I'm looking for is this. No, we don't need to save it there. The little message just asks if you want to save the image in the project. I don't normally do that. Some people like to, but I don't really feel like you need to. We're really gonna rev the brightness on this. Let's try like 1 50 See how that looks. Wells are gonna turn on the glow channel. Uh, the inner strength weaken dropped out a little bit. 90. It's normally what I use. No, You know what? Let's make it really priced. Let's just go for, like, 120 on this. The radius lake 90 centimeters. So the radius glows. Just gonna be this outer part. The outer strength They, like 500 a bit excessive would start, like, 300. See what that looks like? Me. I keep using material color turned on cool. And I were just going to click and drag that into here and to make the, uh, next material. What is that? Sorry for the next part. We're going to be going over how I made a dark environment, because you can Oh, yeah. This is a neat little trick. If you click, render how you could do render region and then all of you to select a certain part you want to render In this case, I'm just gonna render that out. Um, we could just leave it as is and create a camera. But we're actually going to make on outside environment for this thing to be in. So that's what we're gonna do in the next video 5. 5 HDRI, camera + render settings: right. So here we are again and quickly just gonna turn this around. So if you want to rotate an object, you go up here and you hit the rotate tool and the green one makes a horizontal. This is just so that you don't have that ugly line separating the texture like that. So I've got it there, and we're going to make yet another sphere. But this time we're going to I can really, really huge 2000. And of course, I Cosa has always It's bring these segments up just a little bit, too, Like 30 is probably fine. Um, on I just a little bit of a CD about setting up the heavy ankle for this outside environment, we're going to again make him in new material. No color, no reflect ins, Nothing completely dark. Going to put that in there. Now it is kind of going to be hard to see, but you'll be able to detect your objects trust with that. All right. And the reason that we decided to do this is weaken dio render region like that and it will render out with the glass Looks like and already where you can see, we're starting to get something pretty cool there. Andi got the nice glow happening. That's really cool of the reason for that is if we when we want to go around to make our second texture, we can actually do is reverse the materials. So then, if I do render region and we go like this, then what we're going to have is how the glass is going to be reflecting the outside environment. And then we're going to have this dark part as the internal of the normal class, which is pretty sweet, but we're not gonna be doing that right now. We're going to making how the initial one right now it is quickly wanted back the positionings. I don't want it to eat too far. Go and let's do another little render region just to check this out. Things pretty good. Fine with that. So the next thing we're gonna do is quickly just clear out her workspace here. Hope and we really should get in the habit of naming them I'm kind about out of myself was called this HDR I and let's call this sphere swell. You can also call the age to dry the environment. If you want, his share is just outside lighting or, in our case, lack of on for this sphere. We're going to call it glass. Toby J. So there we've got the glass object all set up. God are lighting in here now. The next thing we need to do is get ourselves a camera. Yes, there is the camera looking pretty good. Let's hop on. This little plus sign means that you've now gotten inside the camera on this, that this focus distance is really important. If you're using a physical render congrats. Go over here, grab this focal distance. Sorry, the focus distance and let's say we want to focus on their camera. Calculates how close or far it actually is to this object and folks is accordingly for this physical Notre for this physical setting to work, I've got to go over here to this, which is the camera settings, it says. Sorry, my recording things set up a bit difficult, so it's just bring it down and to change it to the camera, you go render physical and then you click this and you turn on depth of field and now we'll be able to go in here and change it. So I like to use a really low f stop like one, which is how blurry something is, depending on how close it is. So, for example, this low f stop will mean that this will be more in focus than that. Versace. If we had, like, a f stop of eight, probably there wouldn't be that much difference. So you actually going to go and change the folks distance to here? Which is the closest thing, and we're gonna change the chromatic aberration. 60% just for funds. We get some really nice different colored dots in here. If we do all to the chromatic aberration, everything else is probably good. We don't need a really a specific kind of camera for this. How, though I do believe camera co ordinance have something special happening with them. Let's try that out. Let's go for, like, something like that. This might suck, actually. So if it does weaken, just change your back. Maybe this was actually unnecessary. 27. Yeah. It's not looking. Not looking too good. Probably was in a different location the first time that I had rendered it up just all good . Uh, what do 100? Let's try it. 117. What does that look like on what happens if P is seven now? That doesn't look good. We're gonna switch that back. Looks pretty good. I like that angle right there. It's fairly dynamic. Uh, that looks pretty good. Pretty nice. All right, sweet. And now, uh, if you want to get a quick render to see how everything's looking, you can hit this right here, which is render view. And whatever the current view port is in our case, this one, I will render that view port out. So I think that's all we gotta do for this image. Uh, concretely. Probably go over render settings with you guys. This is for when you finally got it finished and everything looks really good. You can go up in here to this, which is a render settings. And I always said it too high. Sometimes I leave adaptive alone. You want object glow turned on with the other things that are really important is ambient occlusion, which is like a light tracing algorithm, which is really nice effect and global elimination. That's another one in both of these combined with the object glow. Since we've got material that glows in our render, we'll make it your image look really good. So we're output. Oh, this looks crappy. We're gonna need 1000 80 by 1000 80. The reason why I choose that size it's actually standard instagram size. I wouldn't really render anything at less than 150 if it's a final. I don't just don't think it's worth it. Uh, that looks pretty good, actually. May But England downwards a little bit more. Yeah, that's good. I'm gonna leave it like that and, uh, yeah, so you guys can render it out and all I see when the next one 6. 6 photoshop & final thoughts: right. So here we are in Photoshopped. This is how the render of what I chose to look at came out. I have to admit that this is sort of all being filmed and post as you can see in my layers over here. I have already gone ahead and rent. Sorry, Not rendered edited part of this. I addressed the brightness and contrast. If you don't know how to do that in photo shop, you go. You have the layer selected and then you go into adjustments right there on then under adjustments, you would choose brightness and contrast. Now, when you when you go to the properties of this brightness I found that way down here, which is total neutral. This was a bit dark for me, so I just kind of fiddled with it until I had something that I liked. I think it was ad 75 78. Something like that, which looks pretty good. Um, you're able to see the colors a lot more. And if you notice in here, So the glass sort of created this cool pixel art effect on some of it right there and then other parts. It's really fluid which I like. The next thing that I did is a adjusted the hue and saturation, which isn't the same thing. You just have your background there, selected goto adjustments and you find hue and saturation. Um, in the human saturation properties, I had fiddled with this. I don't think it was anything crazy for this 1st 1 I did a 2nd 1 where I messed around with it a lot. And, um, there's something really cool about this is you can either. You just used the master adjustment and bring it around and sort of test that what colors are available to you. Just like this. I'll frequently use this color scheme. I like the purple and orange oil use. Uh, where is it? I don't know if I can get it on this one. Sort of this really cold, purple, green, red color. I scheme. I like that as well. Uh, I intend to use those three color sets a lot, and then But if you want, you can go into here. Like where the reds airai saturated my reds a lot. That's how I got this sort of popping effect right there, right here, right there. And then I only pushed it a little bit too, like 36%. So it's a bit colder. Uh, sorry. Plus 36. So it is a bit warmer, but it's really, really saturated, so it'll come out quite strong. The yellows there wasn't that much yellow in here, But you guys can kind of just play around with all these different sections on, see if you can come up with anything really cool for your render. The next thing that I did is I went in and adjusted the curves, and you can see this is way more dramatic of a change. Again, Curves is just in the adjustments right here where it says curves. And this one did make quite a drastic change. I'll show you just the red red. I kind of got this busy A curve going on. I don't know the total science behind this, so I'll admit I have. I do just go by my eye to see what I enjoy, but I found that this sort of harsh dropped down with this upper curve of the red was good and then the green. I just pushed it out a little bit. If you want to get one of these nodes. All you have to do is just click the line and the nodes will appear normally. If you get one of these like 1/2 square curve, it's not gonna look that good. I mean, sure, this is situation where it would be useful, but I don't tend to use it that much. Um, I'm actually even surprised that I pushed it as far as this red curve right here. I've young that I took the blue a fair bit. I kind of a smooth just a straight line right here with this. And I really did push the blues quite a lot in this. When I wanted an ethereal feeling, I would thought the brightness, It would just look like that. But with the brightness turned on and the curves turned on, it looks really good. I could go over driving, just turn all of them on. But I sort of wanted to get to different feelings like that is a lot different than this. So that I was saying before you can get, like, a lot of different content, just set of one piece, if you know, sort of what to render out. And then, um, how to adjust it, like, just right there. You already have two different pieces of content that you can use just out of one picture. Um, I also rendered another image, but I won't show you guys what I did for that one. Just because I had done so. Any adjustment layers, but yeah. Um, in case you don't know how to export the file, you just go up to file export, and it would send it up for you. And that's kind of all I wanted to show you guys. I'm not gonna add text to this one if you want to know how Teoh do that and just text and everything. I have that in my previous video, I guess my final thoughts would be trying. Just try out the glass technique, you know, get a luminous material, put it behind the glass and find some cool angles. I mean, you can render out the actual glass object unto itself as well as you can get some of these images right here, and you can either use them for reference. Or sometimes what I like to do is I use my, um one of my abstracted renders like this guy right here and I like to use it actually is a texture on top of a different object, and then use that as a luminant or, as you know, a Grady in Tora displacing material or something like that, and you can get really cool effects. So you start from, you know, just having stock materials to making your own stuff and adding your own stuff, and you can really get some interesting results. Just with that, I guess the project for this class would be again make the just make the glass material, create that dark outside area. And then, actually, maybe you could, ah, make the inside Llewyn material black and then have the environment limited, whichever you guys prefer looking forward to see what you guys make with that technique. And yeah, so thank you again for taking my class and I'll see you in the next one piece