Intro to Cinema 4D Vol.2: Robot Drone | Aaron Bartlett | Skillshare

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Intro to Cinema 4D Vol.2: Robot Drone

teacher avatar Aaron Bartlett, Motion/Graphic Designer

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

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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 (1h 25m)
    • 1. Introduction

    • 2. Modeling the Hull

    • 3. Detail Modeling

    • 4. Texturing

    • 5. Lighting & Rendering

    • 6. Thanks!

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About This Class

Welcome to lesson 2 in my Intro to Cinema 4D series! In the past I’ve shown you some of the basics, how to navigate the software and build some simple objects. This time we'll try something a little more detailed and make a robot drone! I’ll show you some modeling techniques, help you build some textures and finish it off with some lighting and rendering. If you’ve never worked with the software before, I’d recommend checking out my first Intro to Cinema 4D class and then moving on to this one. If you’re ready to dig a little deeper then let’s get started!

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Meet Your Teacher

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Aaron Bartlett

Motion/Graphic Designer


I'm designer who works in LA and I've spent much of my career in entertainment marketing creating promos and ads for TV, movies and video games. I've got a fairly broad background in a variety of media. I love cartoons and comics books.

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1. Introduction: welcome the lesson to in my intro to Cinema four D. Siri's. In the past, I've shown you some of the basics how to navigate this software and build some simple objects. This time we'll try something a little more detailed and make this robot drone. We'll show you some modelling techniques. Okay, you build some textures and finish it off with some lighting and rendering. If you've never worked with this software before, I recommend checking out my first introduced Cinema four D class and then moving on to this one if you're ready to dig a little deeper than let's get started. 2. Modeling the Hull: so to begin, I want to show you this rough sketch I made. I use this design as a jumping off point. From there. I made a couple rough sketches that we're gonna load into Cinema four D and use this sort of a blueprint to build on. So the first thing I'm gonna do is switch to a four port view. You can click this icon, or if you have a three button mouse, you can click with your middle mouse button to switch between any view port and the four of you ports. I'm gonna go up here to options and choose configure. Then I'm going to go to back and I'm gonna loden image. These images are provided in a lesson so you can download them and use them. I'm gonna select drone sketch top. Then I'm gonna change the size from 800 to 6 75 There's nothing especially significant about that number. It's just the size that I chose for us to work at. Now I'm going to click on this view port with this still selected. If you d selected by accident, you can just go over the options and configure that I'm gonna choose an image for this one drone sketch front. I'm also gonna change that to 6 75 Now, the one thing about these images is that they're gonna be way too bright toe work on. So to make that a lot easier, I'm going to set the transparency on both of them to 95. Now, the first thing we're gonna do is make the main part of the hall before we get into the modeling. One thing I wanted to mention really quickly, I'm working in cinema four d r 21. They've reorganized things a bit over the last few versions. So if you're using an older version, there's a possibility that some of the controls might be in a different spot. If you ever noticed me select something from a menu up here and you're not seeing it on your version, just check on the other menus. You'll probably find it. So first, let's add a sphere. We're gonna leave it at 100 centimeters for a radius. I'm going to switch this toe object mode that will allow us to scale on one axis at a time that I'm gonna set coordinates and change the scale to to 0.875 and 2.5, which you can see lines up fairly well, With what I've designed again, these numbers are sort of arbitrary. It's just the work flow that I ended up with. So I want to align this with the top, the design. I'm just gonna move it up 25 centimeters. I'll turn this off so we can see the next thing that I want to dio is create these lines that will add some detail to the whole. So I'll make a new cube. I'm going to set the width to eight. I'm gonna hold down Altan PC or option on the Mac. Then click the cloner object. I'm gonna change the cloner mode from linear to grid array. I'm going to set the X value to two and Z down to one. As you can see, it's already lined up fairly well, so we'll just leave it at 200. Then I'm gonna grab the Cube, grab this little controller and stretch it out, and then I'll do the same this way and make it taller. The main idea being that it's bigger than the object, it's gonna cut through. Now I'm gonna hold down control or command on a Mac and dragged the cloner. Select this cube, the X value I'm gonna set to 300 and I'll change the Z value to a Then I'll go to the cloner. Change the Z two to now. I just wanna line these up with these lines. So I moved the cloner so that I'm centered. Grab this controller and tighten it up. Then I'll grab this controller and slide them out. So they were intersecting right there in the middle again. We can see this is tall enough. So now I'm going to select a bull object. Grab both of my cloners by control or command clicking Dragon, drop over the bull. You can see that Downward arrow meaning it's gonna get parented. Then I'll click this bull, which will combine them and change this property to union. Now they're being treated as a single object. Now I'm gonna drag that bull below the sphere. Turn the sphere back on at another bull. Grab these two. Drag him in defaults to a subtract B and you can see we've got this cut out Now. Quick refresher to move around these view ports, you can either click these icons to move around, zoom and rotate, or if you hold down alter option on a Mac, you can use a three button mouse with your left button, rotating your middle button moving and you're right button zooming. One of the things that's gonna become very important with this part of the lesson is making sure that we have a nice polygon flow. So if I go appear to display and choose lines we can see World of polygons are now. This cut out has caused some strange shapes that we're gonna worry about cleaning up later . But one of the main things that's gonna be a problem is the way that all the polygons pinched together at the top here. I don't want to create a sort of weird spider Web pattern like that. I want something that's more a simple grid. So we're gonna make another copy of this and then merge the two together to make things less confusing. I'm gonna rename this bull cut out, since that was sort of our cookie cutter shape. Then I'm going to make an instance of that in instances, just a copy. Then I'm going to select this fear. We have to remember when we're making copies of things that if we ever have another object selected, will accidentally make an extra copy. So I have just the sphere selected. Hold down control or command, and drag it down. Then I'm gonna hold down older option. Turn that off. Now this sphere, I want to rotate a different direction. Somebody hit par for rotate. Grab this controller while I'm rotating. Ah, hold down shift and then it'll moving in increments of five so I can get to 90. Let it go click on the sphere again. Go to coordinates Making sure I'm still in object mode. Now I'm going to change it so that the X's 0.875 and why is too so it's the same shape but the polygons air flowing in different direction. Now I'm gonna add a bull, Put the sphere in, put the cut out under that and I've got a very similar cut out with a slightly different polygon flow. We'll turn this back on and grab both of them. I want to save these since I'm about to do some destructive modeling. Been hit Alter Option G in a double. Click this and rename it build. I'm gonna hold down control or command. Drag a copy of this. Turn off the original. Open this up. Gonna select both of these bulls and then hit C to convert them to an editor. Ble mesh. Another thing I wanted to show you. I'll open these up so you can see what's underneath. Um, if you use your middle mouse button to click on somewhere in a hierarchy, it'll select everything underneath it. Like if I click this one, it'll grab all that stuff. So if I grab everything in this bull, then I can right click and say connect objects and delete. No, I'll do the same thing with this one. Connect objects and elite. Then I pulled these out and I'll delete this. No. Now I've got two versions of my mesh and to do one at a time. So turned this off. One of the things we're gonna do in this process is use a symmetry object to flip and duplicate some of the polygons. So I only need one side. I'm gonna go to polygon mode and then I'm going to switch to my rectangle selection. You could also hit zero on your keyboard. I can see that Onley select visible elements is unchecked. So I know it'll select everything. Some older versions that might have been checked by default. So keep your eye on that. That I'm gonna go to this window and grab everything with ones on the right side. Then with my mouse over the window, we can hit Delete. This is the part I want to keep. I'll go ahead and switch to the other one real quick, then over here with this selected I just want to grab the middle, but I want to save it. So I'm gonna hit you. You'll notice a big menu, pops up with lots of options. You can check out what all those do in this case. I'm gonna hit I for invert. Now it selected the other parts that I don't want hit delete and get rid of them. Turn this back off. Turn this back on. Select this object. Now I only need the top polygon, so I'm also gonna grab the bottom section here and delete It does leave me with a few extras laying around. Somebody hit nine to switch to the regular selection tool. This has only select visible elements. Turn that off because I want to grab everything and I'll just slide over those bottom parts hit, delete. And now everything looks good. So now we need to spend a little bit of time cleaning up this geometry. One of the things that's gonna make a big difference in making sure that this looks nice is that we need to have polygons that only have four points or three points. Ideally, they'd all before, but we definitely don't want more than that. So I'm going to switch to point mode, and with nothing selected, I'm going to right click and go to optimize real quick. That will delete any extraneous points that are laying around. Now, if I zoom in, I can see that I've got this little polygon right here that's gonna make things messy. So if I right click, I can choose my polygon pen and one of its primary functions is it just sort of lets me merge points together. So I'll zoom in that I'm just gonna grab this point, snap it over to that one. Grab this guy snapped that up. Now. I've got a polygon here that only has four sides, all the policies over here. Pretty clean. I'm going to reorganize in a little while, but I like the way it looks for now. Let's move over here and we can see we've got a polygon with five points. So snap this one down to here and then I'll move this one up. Something worth noting. When you're building your project, there's a pretty strong chance that you didn't line up everything precisely the same way that I did. So you might not be looking at exactly the same configuration. Mostly, what I want you to do is just try to follow along with what I'm doing and make sure the end up on Lee seeing four points and three point Polly's like I have and trying to make sure that the lines kind of flow nicely as we go along, I think it'll become more obvious where the problem areas are and how to deal with them. Now, this looks pretty good, so I'm gonna build the rest of this out so we have a better idea of what it's gonna look like when it's done. I'll hit the enter key on my keyboard, which will cycle me down to the line mode. Then I'm gonna hit zero for rectangle tool switch to my other view. Ports. I want to grab all these edges and then all the interior edges. You want to make sure you didn't accidentally select anything else, so I'll hit nine. Hold down control or command and de select these. It s designed to my selection. That looks good. Now I'm gonna hold down control or command. You'll see that little icon next to your cursor with two white squares and then I'll be able to drag and extrude this so you can see these extra polygons that we made gonna click to de Select that I'm gonna hit him, which opens up another one of those menus and then K for knife tool. I want to chop off the bottom, so I'm gonna click, hold shift, drag straight across in the middle and then let go. We'll hit the space bar to switch back to selection, actually hit zero to switch to rectangle selection. Then I'm going to switch to polygon mood and grab this bottom part, and I'm noticing that some of this stuff isn't getting selected, which is probably because in the knife tool I forgot to make sure that it was cutting everything. So I'll undo that. My lines gone and hit em que again. We can see there's a visible only setting I want to cut everything's I'm gonna turn that off again. Hold down shift, click and drag the space bar Polygon mode. Grab these Italy. You know, I'm gonna switch toe edges, grab the bottom, change the value to 12.5, which is the midpoint of our original sphere. And I can see I've got these built most of the way in a right click and choose clothes polygon whole. Normally, I'd want the bottom to have the same polygon flow, but we're not even gonna see it. So I'm just gonna close him up. Highlight and click, highlight and click. I like click Well hit space far de select everything. Gonna right click Choose optimize again. Now that I've got these set up, I'm gonna hold alter option click subdivision surface which looks good but way to round it off. Then I'm gonna grab the bull holds shift collected informers menu goto bevel Now that's making a pretty nice shape. Control our surrender and see what I'm looking at. Not too bad. A little bit of weirdness that some of the edges But I'm gonna change the settings a bit to get it more where I want It's all click bevel goto options Gonna change the angle threshold . I'll try 20 Which looks pretty good. I like having this ridge around the last ring of polygons that I'm gonna change the offset to. So it's a little bigger and at a couple subdivisions, So it's more pronounced. I'm gonna rented that again. And I think it looks really clean, except for what's going on right here. So I'm gonna turn off the subdivision surface and the bubbles that I can see what I'm doing . Switch to my life selection Switch to polygons. Gonna make sure I turn on Onley. Select visible elements. Grab this, Polly. This one and this one and delete. Now, right click and go to my polygon pen. One of the neat features is that I can just draw Polly saw this click, drag, click, click, click and then completes. Now I've got a random polygon, but I want to attach it to what's going on in here. So I grabbed this edge. Time out, Aaron. From the future here, I just made a mistake, and I'm not gonna catch on to what I did wrong. For about four more minutes, I'm pointing that out to you so that you realize the next four minutes you're gonna see some techniques for modeling. That'll be helpful. But ultimately, when I get to the part where I start talking about normals, that's what was really wrong. To point out the specifics, you might notice that right here, where have freeze framed it. Based on the orientation of our perspective, I grabbed the bottom edge of the new polygon I just made and then attached it to the top edge of where I wanted the polygon ago. Then I grabbed the bottom and flipped it over, and that resulted in the polygon facing backwards. Hopefully that's not too confusing, but you'll see that after I've reworked and tried to find some other solutions, all realize that some of the polygons or backwards they won't be the same. Polygons is the one that I currently have selected. But they are going to be the result of that. Okay, let's get back to it and snap it to this guy. Then I'll move this point and snap and move this point over here. Now, I ended up really far down, so if I just grab it real quick, you can move it back up into the right neighborhood. That'll give me something to work with. So now I can choose my bridge tool, switch to edges, grab this edge bridge to there and then I'll switch to close polygon hole and fill it in. All right, click Goto, optimize. I just want to move around a bit and make sure that things look good. You can see that this polygon is kind of a weird shape. So grab this point, move things down just a bit. Looks like that's some pretty good shape. Then I will turn these back on render that looks a lot smoother. Unfortunately, we created a new edge here. Now we can try messing with the angle on our bevel. Something worth noting is this is another area where this angle for you might be a little bit off of the number I'm choosing just based on the angles of your polygons. You know, if I move it down, gets a lot more segmented by move it up. It's a lot smoother. So starting from 20 gonna just try going up, see if it makes any difference. But I can see that I just lost that. And I've still got this problem. So I'm gonna set that back to 20. Turn these off again. I'm gonna grab this point, turn them back on. I could try moving it around to see if it makes any difference, but it looks like I'm kind of locked in, so I'm gonna turn these off again. And what I'd like to do is just turn this into another row. So double checking that I'm only selecting visible elements. Got a polygon. I'm gonna delete this one, this one in this one I'm gonna select just this guy, hit em que and then in my top view, just gonna slice through space bar. You can see the line where I've added Upali. Now I'm gonna grab this polygon and do the same thing, OK? Click and drag space bar. We'll switch the points. Move this one over a little bit. Switch to edges. Switch to polygon. pen. Don't just make a quick polygon snap that here snapped that there. Switch to bridge drug from there to here. Here to here Then I'll switch to close polygon home and close this de select optimize Turn these on Grab my points first remove this one around until we lose that edge Turn this off for a quick grab this point Turn it back on Same thing. Now I'm noticing that I have this weird scene here But the thing that strange is my polygons in pretty good shape. So I was thinking about another possibility. If I go upto options, I can turn on my polygon normals that'll just show me which direction on a polygon is facing out. So if I select this group, you can see these lines sticking up on these lines that are facing down. That means these two are flipped So I'm gonna de select Just grab these two go to mesh normals reverse normals. Now if I turn this back on looks a lot cleaner hit render and that looks good. You should be able to clean up any detail issues you're having by moving your points. Um, Polly's around to have a nice flow double checking to make sure that none of the normal zehr facing the wrong direction If you're seeing a seem like that that you don't want and also consider looking at the bevel and messing with the angle threshold. So now that I've got this the way that I want it, I'm actually gonna take it out of this hierarchy. I'm gonna hold down Ault or option and choose symmetry that flipped it and made a copy Gonna hit C and then dragged this bull out. So now I've got the set up that's doubled. I'm gonna turn this off for a second and turn the other one on for this guy. Go back to polygon mode, Select. Gonna grab and delete this big one in this big one. Then I'll hit zero for rectangle tool Grab the whole bottom section and hit delete because I'll only need the top Now grab my edges Gonna hold down control or command Dragged the arrow to pull it all the way down De select Tim K for knife click Hold down shift space Switch to Polly's Grab the bottom on delete we'll switch back edges. Got the bottom again go to 12.5 just to be sure, I'll de select and optimize. I'll close this polygon whole. Turn this back on, grab both of them, right, Click, connect objects and elite. Then I'll move this back inside this hierarchy and move the bevel back underneath there. That's for my zoom. Virender, it looks pretty good except for these hard edges I'm seeing here. I wanted that to be rounded, so I'm gonna click on my bubble. I'm gonna try bumping this up 25 looks perfect. When you tweak that value, it might cause you problems that I'm not having. Or you might have been fine without touching it. This whole part of the process is very subjective, since everything we're doing is not mathematically identical. So the only other thing I'm seeing is that this ridge doesn't lie up with this one. So I'm gonna click on this turn subdivisions off, Then I'll switch to my life selection Onley selecting visible. And I'm just gonna grab this ring. Then I'll switch around in the back to grab this one. It's gonna move it up a little bits that I can see. It's lining up there. Then I'll hit T for scale. Slide it in gently. We turn this back on and render that looks better. Okay, Now, I want to repeat the process for the bottom, which would be a little bit quicker. So turn this off. Open buildup. Going to select the main bull than control or command. Drag it down here. Close this down. My spears at 25. But I wanted a minus 25 which we can see will line up with the bottom turn the bowling sphere off. My cut out for this one is gonna be a bit different. So I grabbed these cubes, move them up here and delete these cloners. First Cube, I want to be a Zweig. Is these detail lines say 100? And then this. I'll do the same on the Z axis and make it wider. But I want these to be centered, so I'm gonna make sure that they're all zeroed out on the position. Make sure this cut out of zeroed out to this bull, which is also a zero. So now I know I'm centered. Turn my spear back on and I'll turn my bull back on change this pool. But we can see that didn't work. Sometimes these bull objects end up giving you trouble with order of operations. So we can just do things in a different order, and then it should work. So I'm going to pull this out. I'm gonna grab one of these cubes and move them underneath the sphere. Now we can see that it cut a hole in the center. Then I'm gonna grab this bull and dragon inside here, making sure this cut out is set to subtract. And now the cutout has worked. I'll just call this base. Open up. My build Controller Command dragged this inside, so I have a copy, just in case. Then I'll select base and hit C. Make sure I select everything in the null right click, connect objects and delete. Now, in this case, we've got something that Miers both directions. So I'm only gonna need 1/4 of it. Switch to polygons, rectangles. Select. I grabbed the bottom right. I'm gonna turn off the normal because I don't really need to see them. We'll hit you. I to invert my selection. Delete. To get rid of those policies has to zoom in quick refresh. You can use s to zoom to whatever selected you can use h to zoom, toe everything. And then you can use alter option s to zoom to the selection and all the windows. And you can use Ault or option H to zoom to everything in all windows. So I'll hit old pests Metal zoom in each case. Now let's take a look at this guy and check our points. Nothing selected. I'm gonna optimize real quick just to check. Then I'll switch to my polygon pen to clean up a few gonna move this one just tiny bit from the top. But of course, that's reminding me. I've got some extra geometry I don't need And I've been mistakenly editing the top just to be thorough. We'll go ahead and delete what I just made. Probably guns. Grab the top. Delete switched alive. Grab these taller ones that looks cleaner. Flip this over. You know, back the points back, falling on pen. Select this one point and move it over Now grab the edges. Soon Mount Controller Command, drag the select Tim K for knife. We'll shift cut across space bar. Okay. Poli's grab the extras. Delete switch to edges grab the bottom actually dragged the opposite direction of what I meant. But it won't affect anything since we're repositioning it mathematically will move this to minus 12.5. Now we're seeing what we want to see. Do you select? I'll grab close Polygon. All right, click toe up demise. And then I'm gonna alter option click. It looks pretty good, but it's a little strange. What's going on there Now I'll open this one up. Select bowl Controller Command. Drag that down, Put it underneath base. We render this similar situation looks pretty clean, but we got one bump there. I can try changing the settings. 20 doesn't work. 30 doesn't help. I'll put it back to where it was 25 Actually. What I think will clean this up is if I add an extra row here so we'll go ahead and do that . Switch to Polly's. Gonna delete this one. This one in this one. Grab my polygon. 10. Yeah, This into a better spot. Switch to bridge made a little mistake here, but we can fix that. We'll close this polygon home. Select both of these poly's right click and go to dissolve, which will merge them into one close polygon hole. Fill this in. Switch the points. Gonna just delete this one. Right? Click up the mines. Turn this back on. Virender, I have a much cleaner edge. So since I got what I wanted, I'm gonna pull this out of the hierarchy again. Hold down. Option. Choose symmetry. It s to zoom out. I'm gonna hold down, alter option and choose symmetry again. But this one I'm going to change two x y. I'll hit C to convert that. Open this up. Pull this out and put it back in. Drop that back under. Delete those nose. I've got the base that I wanted to see. So now we'll turn the top back on This looks pretty good. The other thing I wanted to add was to go back in the build, grabbed the original sphere. I could just copy it, closed this down paste and hit T for scale. Most gonna alter option, click this subdivision to make sure that it's smoother. And then I'm just going to scale it down just a little bit to get it inside. I'll make a copy and move this up to 25 centimeters. We'll check the top to make sure that that looks good. I want to make sure that it's not intersecting, which I can see a little bit peeking through here. So just go to the coordinates and move it down until I can't see it. That looks good for the top and fills in for the bottom. So I'm gonna grab this in this and hit Walter Option G and call it ho top. And then I'm going to grab these two ultra option G called them whole face. Now, we should have saved this object a lot sooner because it's always a good idea to save as often as possible, but I'll save it now. He will call it a drone it cult or option h to zoom everything I need to make this middle section. So we're gonna create a cylinder, gonna make the radius 200 centimeters. We'll make it 55 centimeters tall. I don't need any height segments, so I'll put that to one. I'll change the rotation segments to 96 to make sure it's really smooth. Making sure that I am an object mode gonna go into the coordinates, change the Z scale toe 1.25 which will make it match that oval shape. I'm gonna go to the caps and turn on fill it so it rounds the edges. Three segments is good. We'll move the radius up to five Now. I got a nice rounding there. I want to make sure that this intersects with the other geometry I created. It's not quite getting Oppa's high. There's I'd like or is low. There is, I'd like. So I go back to the object. I'm gonna just set the hate to 60. Now we'll just rename the cylinder and call it center, then move that down in between so we can have a hierarchy that represents everything. So now we finished making the main part of our home. 3. Detail Modeling: Let's move on to the next section will build the arms. I'm gonna grab the existing stuff. Hit Alter option G. No. Call this drone alter option. Click this toys to hide it. Now it can build these arms. Now, one of the things about this sketch is that these arms were rotated slightly. So this top down view isn't 100% accurate. But we're just gonna build something that's pretty close. So start in this view, I'm gonna create a cube. Gonna add one z segment e from move, and I'll move it over here. This is gonna become our main joint segment. So I'm gonna size it down to match that I was a little more specific on the measurements for the first section just so that we have something to go off of. But for the rest of it, most of it's fairly arbitrary. So I want to match the height to be more or less What sketch looks like. Now I'm gonna hold down control or command duplicate this box to make this taller, cause I'm gonna use this as a cutout at our for rotate. Grabbed the circle. Hold on shift. I'm gonna try 30 degrees If remove. That looks pretty good. I'm gonna controller, command, drag another one. These two will be my cut out. So now that I got those two together, I could pull them or I could just right click and say, connect objects and delete No, at a bull a subtract B that looks like what I want to see. So hit C to convert gravel these connect objects and delete. I'm gonna make a copy of this by controller command dragging, and then we're going to use this to cut the whole out of the moat. So switch to my scale scale on the y. So it's taller, the switch to polygon mode. First thing I'm gonna dio you select the whole thing, and then I'm gonna scale it down, but only on these two axes so I can grab this arrow in the middle to make sure don't scale on the y. Well, just come down. I'll actually match the height space bar. Now I'm just gonna move the edges in. I moved that in, but since I am Polly selected, I only had these two in this top one I missed. So I'm gonna undo that I should be an edge mode. Grab all my edges. Move this over. I was about eight. So I'll do about eight for this one. No, I got it at another bull. Put a on top a subtract B and then I'll hit C select all these connect objects and delete. Now I've got my joint alter option s resume. Roll these switch back to my object mode To make things easier. I want my axis centered in the middle of where this is so with the object selected, I'm just gonna go toe mesh access center access to and there it is. Now I'm gonna hold down shift and click Cube, which parents it underneath and centered. I want this to fill in the hole, so I'm gonna squish it down. Here s so I can see and squish this down here and then the height all the way down and try something fairly narrow. The only thing is, I have this corner sticking out, so I'm gonna add one z segment. You can say out of that line they don't see converted. Switch the points. Grab these. Slight him over. Now it's filled in. Now I'm gonna drag this out. Grab this bull hold shift and grab bevel again. Gonna add a couple subdivisions and make it a little bigger. I can see my edges on the inside. Aren't beveling the way they should. So click here, make sure de selected everything right Click and optimize then on the select And now I'm seeing what I want to see But I'm also noticing these extra points that I don't really want . So switch to the top view and I'm just gonna grab the extras that I don't need. Delete those I noticed there was one more at this corner. Good. And we'll check this again. Those corners look cleaner. Now I'm gonna hold down Shift in at a cylinder centered. Gonna change this The plus x close this down and then also closed down the radius Little match those lines in this sketch making sure I'm an object mode. Come to my coordinates, my wife scale and try half. That looks good. I'm gonna add these little bolts. So holding shift again. Open the oil tank. Going to change these. Try 5 10 It's actually change that point that I'll move one over in this corner. Control Dragon move one to this corner. Now I can see the curved edges air still sitting inside that center cube. So I'm gonna grab both oil tanks and pop the height up just a bit. I can pull these out, pull this out. Knows the amount a little bit, gonna keep building the arm this way. So shift click Another cube pulled that down to the bottom, Make this one pretty thin as well. And I'm going to control or command drug for a copy. This a little taller? He's to accidentally got bumped up. So I'm gonna set him back down to zero and turn on, fill it and make this a bit more narrow. Slide it over the edge that will make a copy by control or command dragging. No. Grab the original gonna control. Drag that over here. Make it a about as tall as the original. Turn on, Fill it again. A bump that up a little bigger and then I'll drag this a little whiter in this a little more narrow. So make a little wired her and slide it over because we're gonna need some extra. I'm gonna grab the center again and make it even thinner than it. Waas. Now we're gonna use what's called a loft object. So I'm gonna hold down, shift, open this up, click loft, and then I'm going to hold down, shift, click the Vector menu and choose circle. First, let's change it to 10. It is getting squished because of the hierarchy it's stuck in. So I'm gonna pull that out a little loft out as well. Click the circle, go to coordinates and change the wider one. Go back to object. I'm gonna change this to Z. Why? So it's facing that direction and then I'm gonna move it over here So it's inside the joint . No apparent that back under the loft with loft object does is basically just traces from one object to the next should become more obvious as I make it. Hold down, control or command. And then I'm going to drag over. You can see now it's creating a cylinder that I'm gonna drag another one. Only this time I'm going to make this radius five and I can already see that the top of this is poking out and I don't want that. So I'm gonna grab the 1st 2 and knock them down. Toe eight, which looks pretty good. Then I'll grab this one and knock it down to four. No, I'm gonna control or command drag another. And then one more time, I will make this 18 again. And then Controller Command drag a final time because it's still sticking out. I don't really want to make it smaller. Just gonna grab this object, make it taller. Then I'll grab this joint T for scale. Scale it up a little bit. So this is what I have so far it saves. Since I haven't done that in a while. No, I can't work on the barrel. I'm actually gonna grab this cylinder, Then drag a copy down to the bottom, go to the coordinates. Gonna set them back toe one gonna change this from plus X plus Z down to just one height segment about the radius at eight. Then we'll move it over here. Make sure it's overlapping in both ends. I'm gonna hold down shift and selected tube. Don't pull that out. We'll change this to plus C in radius of 10 out of radius of 15. Gonna move it down here. I'll set the height 80. I don't need the extra height segments. We'll turn on fill it. We'll just set that to to I actually want the barrel to be a little bit bigger, so I'm gonna put it in the center a bump up the rotation segments to So it's a little smoother. Now I want to do a cool cut out some the whole downshift. It's like Cube. Just gonna make it five on each side so I can see it easily. Okay, lets say 20 years, that was small. Now just gonna stretch it out. So it's a bit wider. I'm going to add one Z segment. I'm gonna make sure that it's taller than the entire tube. I'm gonna hit C to convert, switch the points, grab my rectangle selection T for scale. I'm just going to scale it. We'll pull this out, create a new bull, His track B. You got that whole cut? Just gonna call this tip so that it's a unique name. I'm gonna create an instance. Drag that down here, create a new bull, a subtract B. Then I'm gonna grab the tip instance, Rotate it, move it 90 degrees this way and then 180 degrees this way, which is clearly a problem because we just lost everything. So I'm gonna grab the original. We just got a model mode hit t for scale. I'm just gonna try making a little smaller and see if that makes a difference. Yeah, we can see it was cutting too far. So I'll just push this down until I see a little more structure. Then maybe all this tracking a little bit. That looks pretty good. So now I'm gonna grab this cylinder, drag a copy. This one. I'm gonna move down. You're gonna make it a lot smaller. So make a radius of five and a height of 40. Actually, it's called 60. Then we'll add Philip, Cap, that default actually looks pretty good. Just gonna move it back. So it fits into the other cylinder. That's a nice detail. But then I noticed that I've made this one a little too big, so I'm gonna shrink that just enough. Make sure that it's still matching up the end here. Looks OK and looks like we've got our arm built. So with everything selected, I'm gonna hit older option g gonna call this harm and then I'll turn the drone back on so that I could move this into position. I'm gonna rotate at minus 15 degrees on bank and then I'll move it up here, tow line up with my sketch. But I also want to make sure that it's making contact with the hall of a good spot. That looks pretty good. But I want this to go all the way inside. So click this box and make it a little longer that I'm gonna slide it over a little bit. And to be honest, this is one of those places where we could spend a lot more time adding more detail. If you want Teoh, you can build extra geometry to try to make it look like a more seamless transition between the arm and the whole. I'm just gonna leave it like this, though, so I'm just gonna add a symmetry object that I'm going to pull the arm into it, that I'm gonna grab that symmetry, hold down alter option and make another one and changed this one from Z y toe XY. I've got all the arms we'll rename that. Move it into the drone. Now I'm gonna make the front adviser hit holder. Option H to zoom everything, make a new box. I went up here. I'm gonna turn the drone off so I could see this more easily. Turn on fill it to make it a little stronger, I'll turn my drone back on gun control or command drag to duplicate this cube. So I'm gonna hit cult Option s to zoom all of them. This one is gonna bull the other out so I can make it smaller. I just want to make it go a little beyond the other geometry right there and make it a little less tall. Got a bull. Now that's hollowed out. I'm gonna grab just this one. Drag it out. You get a little bit less tall and change the fill it radius down a three. You get a little bit less wide. Moving a bit inside. That part's gonna light up later. Older option G called this visor. Move that into the drone hierarchy. Now we're gonna build the eyes. Turn the drone off. I'm gonna add a new sphere. This one will be 15 centimeters. Switch to object mode. Rz scale is gonna be 0.5 next I'm gonna add a ring around that. So make a tube, Change it to plus Z gonna make this 14.5 centimeters for my inner radius in 20 for my outer Gonna make my height 20 eight segments One turn on fill it three segments three is too. Then I'm just gonna move it back a bit. Now I'm gonna make a cylinder Tramel set. Plus, is he 25 centimeter radius. Believe it for height segments, we'll turn on fill it. She'll do it three and two centimeters. But this one, I'm going to do a slice. So we'll go from 1 80 23 60. I'm gonna hit. See, To make this inevitable mash switch to polygon mode, grab all the bottom poly's. Then I'm going to drag those down so they're a little bit deeper than circle. I want to go ahead and delete them because I don't need them. And then I'm also gonna select the back and delete those as well because those will be hidden inside the hall. Let's switch back my object mode that I'm gonna slide this back. I want this thing to sort of taper downwards, so switch to edge mode. I'm gonna grab these. I'm gonna hit Fell, which will notice highlights this enable access that lets me move the axis without actually changing anything. Most are gonna click this, which is snap. And then I'll snap this to the point in the corner. Well, hit t for scale, and then I'm just going to scale on the why. But nothing's happening because I forgot to turn enable access back off. We'll turn that back off and then I'll just scale this down. I'm going to repeat that process to these other two segments. Select l move down. Snap, elegant t for scale, skill the way. Select hell snap! Hell t skill. Now that that's tapering down Older option click subdivision surface And it's nice and smooth. I'm gonna grab all of these Poulter option g rename this I term a drone back on in. Line this up with my drawing and I just want to make sure that the geometry is completely hidden. Looks like it is so that one's good. I'm gonna make an instance of the I hold down. Alton, click the cloner, change the cloner to grid array this to two things down to one movies controllers in so they line up. If you realize that some of your movements air kind of jerky, it's probably because we left. Snap on. I'm gonna turn that back off. Now I'm gonna move the clock forward, line up with the drawing again, and we'll look over here to compensate. But moving down it looks a little bit too far. Some actually going back it up slightly. And now it's all intersecting properly, which looks good. One thing I'm noticing is that this tube looks to jagged. So I'm gonna open. I go to tube, change the rotation segments to 96. Render again looks much nicer. I also noticed that because these spears got scaled, they don't quite look perfectly smooth. Someone grabbed a sphere just at a subdivision surface everything, and it looks smoother. Now grab both of these Poulter Option G rename it eyes, then move them into the hierarchy and save. And just like that, we finished modelling our drone 4. Texturing: before we start into the texture painting. One thing I wanted to tell you was that these images are included in the lesson. If you look in the description, you can find the links to download these. If you don't want to have to make them yourselves in photo shop, the main thing that we're gonna make in photo shop is a tile with some detail for our metal . So first I'll make a new file that 1000 by 1000. I'm gonna fill it up with 50% gray. I'm gonna make a new layer, and I'm just gonna draw a bunch of random boxes with the selection tool making sure I don't touch the edge. It's told shift in drag. Now I'm going to fill these by holding alter option backspace, which we can see here. I'm gonna double click this. I'm gonna turn on bevel in, Boss and I'll turn on Contour so it's sharper and I'm gonna bump it up to 10. So it's really obvious I'm gonna bump this up to 100. You see, select, it's not super important. Anything you make in this step is identical to what I'm doing. We just want to make sure that we're making something kind of cool that has geometric shapes and gives us some texture when we're done. So I'm going to duplicate that layer but to transform and then just rotated 90 degrees and I'm moving around a little bit that I'm gonna make a new layer. Gonna alter option, Drag that up. So I have that Dublin boss again that I'm just going to do the same thing I did earlier. Make a bunch of random rectangles try and fill in some empty spaces. Fill that. That actually looks pretty cool. Now from here will try to add a little more detail just to make it look even cooler. I want to make sure that everything I do is symmetrical. So turn these off when it's like this layer. But I'm gonna dragon snap a guide, make sure they both hit 500. I'm gonna choose my brilliant tool and I'm gonna pick reflected I'll just go from the middle to the edge Gonna undo that because I need to put a new layer at the top and not ruin my background. Making shrimp snapped in the middle. Hold shift. Go to the edge Now I know that's reflected. I'm gonna change that from normal to multiply that will turn the others on and gonna hit seven on my keypad to knock that down to 70%. I'm gonna hit you, shift you until I get to my rectangle and I'm going to add some stripes on top of these other parts. Gonna set my filled with black. I kind of like the light grey for the edges. I'm gonna make a copy of this Grady int gonna hold on altar option and click here on the edge to make a clipping mask. Actually gonna change that back to 100 change the spectrum normal. Then I'm gonna change my rectangle to difference. Well, hit Say we'll make a few copies of this, like this pattern and came up with I just want there to be a little bit less contrast. So I'm gonna go to my adjustments and shoes levels, you know, just black and a little. And pulled the white in a little. Now it's a bit more subtle. Save this gold medal. Now again, the thing you make really doesn't have to look like mine and any way at all it's completely up to you. But I was just trying to create a neat pattern that would be reminiscent of some sort of a metal. So the next thing I'm gonna do is save a copy of this that we can use is a related bump map . But maps are a way to add fake detail to our geometry. So called this metal underscore bump. I'm going to change things around a little bit. So I delete these levels. I'm gonna get rid of these ingredients. This rectangle I'm gonna change back to normal. I'm gonna set the stroke to black and the filter white. I'm also going to change the opacity of the layer to 50. And for these gonna change level in boss from screen to normal, multiply to normal. Gonna change the film used to zero think will actually change this rectangle toe overlay this bottom layer Just gonna do a quick levels to it make it really dark And then the top do levels make it really bright. Was I accidentally set that filled zero So I'll change it back. I'll save this. So now we'll go to cinema four d. I will start building our textures double click in this area to create a new material. We'll click here toe ather image will select metal. I'm gonna rename this metal detail in color. I'm gonna select texture, copy it and reflect INTs. Remove the default speculator at a beckman for the texture. I'm going to add a for now and then I'm gonna add layer. If I click layer, I can see here that we just get to add as many things as we want and stack them. So then I'm gonna add an image which will be metal. I'm gonna change that to multiply. Then I'm going to go over here, turn on bump, go over the bumps like my texture paste. What I copied earlier, then I'm gonna knock the strength upto Let's say 200. But actually, I should be using my bump texture, not my drawing. So I'm going to load metal thump. She's a little more intense. Now that I've got metal detail, We go ahead and apply it to my center, but dragging it on, then we'll render. I think he could be applied a little better. So select this cylinder. Grab this material tag. I'm gonna change it to cylinder. If I switch to texture mode, I can see how it's applied. That looks correct, but I think it would look better for smaller. So I'm actually going to change it to five tiles by five tiles. See how that looks. Maybe even 10. Looks pretty good. Another place I'd like to apply that is on the eyes. So I'm going to go into the main cylinder in the eye. I'll add this texture. I'm also gonna change that to cylindrical the coordinates. Gonna rotate 90 on my pitch, and then I'm gonna right click and say fit to object. That also looks pretty good. And I would also like to scale that down. So I'm gonna try changing each of these 25 That pattern looks pretty cool. I'm gonna control or command drag this to make a copy of it. And I'm gonna call this medal dark for the color. I'm gonna clear out the image. Just change this to a really low value. I'm actually gonna copy it again. Call this middle dark, then I'll go back to middle dark. Don't turn the bump off the reflect INTs. I'm actually gonna change to just it for now, but I'll knock it back a bit. I'm gonna grab both of these. Copy them both. No. Call this metal Medium metal medium bump. Change the color to something a bit lighter. Now that I have these, I can start applying them. So I'm gonna change my display back to normal. So it's a little bit easier to see what I'm doing And add the simple dark metal to the ring around the eye. Gonna add the middle dark bump to the whole medium model Goto the sphere in the inside. You can open up the base because we're gonna want to be the same thing. Render this to take a look. I feel like the detail on both those. Get smaller. Something a select Botham. Try three by three. Right. Look at that. Gonna put the dark metal onto the visor. It actually needs to go on the bull, though. So I could the entire thing. I can close most of these down. Open up the arms so I can see what's going on When I grab that cylinder, put the bunt medium middle on there, but I'm gonna go in the coordinates, rotate 90 degrees on the pitch. Go to the tag change. It's cylindrical. Can add the dark, smooth metal to the tip and the medium smooth metal to the cylinder inside the joint out of the dark. Bump metal well at middle detail. The cube interior oil tanks can get the dark metal. That cylinder can have the median metal, the ending. Get the dark middle with bunt mapas. Well, other two cubes. They're smooth on the inside. Middle detail in the loft. Quick rendered a check. Looks pretty cool. Got a lot of bases covered. It's the main thing we need Now are the glowy textures, Some at a new one. We'll call this blue glow. We're gonna turn color off and luminous on ruminants Select a light blue gonna set the brightness to 500% and then the under texture I'm gonna add ingredient Change it to circular in the mixed mode Toe ad sometime Actually going to go in here, right? Click on this and say Invert radiant. I'm gonna make a copy of that. But controller command dragging. I'm gonna call this one red glow. Turn the color on. She's pure red for the color. Do the same for the limits. I'm going to select both of these, cause I forgot to tweak my reflect INTs. So I'm gonna remove the speculator out of Beckman. And for now, I was looking like what I want to see. So now apply the blue to the center of the visor. We'll add the red to the I five render our glowy, which is the desired effect. So from here, we just need to set up our lighting and rendering to make this look a lot nicer. 5. Lighting & Rendering: okay for a final set up, we're gonna create one more thing in photo shop. And again, if you check the lesson description, you can just download this image. If you'd prefer not to do the photo shop portion your call. But I'm just going to make up something that will represent sort of an HDR map that we're going to put into a sky object that's gonna help us with the lighting and reflections. So the first thing I'm gonna do is put a guide right in the center. We'll make the top black control shift. I recommend shift high to invert hit control, command hell to go toe levels. I'm just gonna make this darker but not too dark. Some that I think will look really cool is if I have some yellow colors on my reflections. So what I'm gonna dio is just make some yellow rectangles mental. Just alter option drag, make these a few different sizes, delete some sections, so there's some variety gonna add an inner shadow, no distance, just so these sort of fade out at the edges. I'm actually going to transform the whole thing, and then I'm gonna add couple white sections up at the top. I want there to be a little bit of dissidence to the floor. So I think I'm going to run clouds, which, of course, is based on the colors I have selected. Someone had control shift you to de saturated in control shift L to create more contrast. But then I'll just hit control l for levels and gonna knock it back. I'm going to save this and I'll just call it room, Come back to cinema four d. I'm going to create a sky object. I'm gonna make a new texture, turn off, reflect INTs good color. Select my room image that I'm gonna add that to the sky that I'm also going to right click , and I'm gonna go to render tags. If you're using an older version, this should be under cinema four D tags and choose compositing. I'm gonna turn off cast and receive shadows and I'm gonna turn off seen by camera. So now it's only gonna exist is the lighting and rendering element. So if I render now, we've got these nice yellow highlights showing up, which is cool not to enhance that. I'm gonna add a couple lights the scene. So click here to make one new light I'm gonna turn on my shadow maps soft. I'm gonna go to details and turn on inverse square. Physically accurate. Now, this gives me an idea of where my lights gonna show up. Alter option H salmon is him out. So it's easier to see. So grab my life, even move. Go back tomorrow mode. And I'm just going to move this two more interesting position that I'm actually going to control drag, make another one, move it to a counter position. Not too far back. I'm actually going to turn off the fall off, and then I'm going to set the intensity down to 50. So I got a little bit of back lighting. I render this a little bit more mood lighting going on, and the thing that we're gonna do that's really gonna push the render a lot further. We're gonna open up our render settings by hitting controller command be, and then we're gonna change our render from standard physical. That will give us this new physical menu. We're gonna leave it, set it low for right now. But then I'm also gonna add a couple affects Ambien conclusion and global illumination. We're okay with the defaults, but ambient occlusion is basically going to darken edges where light wouldn't get in. A swell global illumination means that we're going to be having much more realistic lighting. That'll behave a lot more the way that light physically does. Calculating how the light bounces off of things this wall so slow down are rendered time, but it's gonna be worth it. So if we render this but a wait a little bit longer, well calculates that this is gonna be a lot more dynamic, especially using the light coming from those textures. So if you compare this to what we were looking at, before we turn those settings on, you can see that there's a lot more detail going on in all those little spots. No, I like what we've got here, but I think I would actually like to add just one more light. I'm gonna grab the original in a controlled, dragged that up. We'll zoom out so I can see what I'm doing. I'm just gonna move that over to a nice third spot, making sure it's offset. I'm also gonna knock this one down to 50. I will render again here, go a little faster because it's a smaller window. I think that looks pretty good. In fact, I'm actually curious. If I turn this other one off, I might not really need it slightly more dramatic. With a little extra contrast from here, the only other thing I really want to do is try to pick a dramatic angle. Now, with this view selected, I'm gonna make a camera object gonna click this icon so that I'm seeing the camera in this view port. Which means when I change the view port, I'm changing the camera. Just gonna rotate around a little bit. I'm actually gonna change the bank manually. Might even push it a bit through there. And another thing that can enhance this a bit is by changing the cameras focal length instead of a classic lens, I'll make it wide angle. Then we'll zoom in a little bit. I'm gonna open these settings back up. I'm actually gonna change the output. 10 80 by 10. 80. Just a great size for instagram or any other place you'd like. The post square art. We're going to do one more test. Render And here's a classic example of how moving the camera around changes are lighting quite a bit. So I'm gonna zoom back out and I can see that I've basically got a light that's living in the same space is my camera. I don't really want that. So I grabbed my first light. I'm gonna move it over to the side more, A little higher. Well, over half this light, more towards the front, maybe a bit more down. And even as I'm tweaking that I'm realizing I would kind of like to see a little bit more of the top Someone to rotate a little bit. Grab this late again, moving around. Obviously, you don't have to copy what I'm doing. Feel free to be as creative as you want. Do another test. And I think I'd like a few angles with my camera selected. I'm gonna set a key frame that I'm gonna move forward One frame. Yeah. Now I'm going to back. I'm actually trying to get this straight as I can. So, zero those properties that I'm gonna set another key frame for the camera. We'll do another test runner just for the heck of it. I'll do one more. It can also edit the camera itself. Some was gonna hit horror, Change this rotation e for move and then we'll move it down. Yes, that was too far. Well said a key frame there, and I'm gonna hit control. Be change my settings, saunter output. I'm going to change it from zero 22 frames. So it'll render all three of these under save format is really up to you If you want to put an Alpha channel so that you could put this on a background, go ahead and check that box I'm partial to target is But you could use a tiff or any other file format that supports an Alfa. Choose a location for a file, call it drone render. It will automatically add this naming convention that I'm gonna save. But there's one more thing I need to change if I go into my physical render settings were gonna want to change low up to high. This is going to slow it down quite a bit. It's also going to smooth things out a lot more nicely. So hit save again and then hit shift our and this will start me rendering. Once this is done, you can pull it in a photo shop and drop it on any cool science fiction or outer space background. You're like, Congratulations. You're done. 6. Thanks!: I hope you enjoyed the class. Please post your work so I can see how you're doing. Don't hesitate to ask any questions you might have. Let me know if there's anything you'd like me to explore in a future lesson. Keep up the good work and I'll see you next time.