Introduction to 3D Modeling with Cinema 4D | Carlo Diego | Skillshare

Introduction to 3D Modeling with Cinema 4D

Carlo Diego, UX/UI Designer / 3D Artist & Animator

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10 Lessons (2h 5m)
    • 1. Learning the Cinema 4D Interface

      14:27
    • 2. Making a Cylindrical Box

      box.c4d
      15:07
    • 3. Making a glass vase

      vase.c4d
      vaseOutline.ai
      14:48
    • 4. Learning about textures

      textures.c4d
      14:36
    • 5. Modeling with Cloners, Booles and the Connect Objects

      1x1Eames.c4d
      15:15
    • 6. Text basics

      ssText.c4d
      15:49
    • 7. Modeling a chair

      10:01
    • 8. Adding textures and setting up the shot

      chair2.c4d
      10:25
    • 9. Lights, camera, render!

      baseBoard.ai
      finalScene.c4d
      11:39
    • 10. Thank you's and goodbye

      2:47
17 students are watching this class

About This Class

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The goal of this class is to introduce students to the fundamentals of 3D modeling, texturing, lighting, rendering and product design. We will begin by building various pieces of furniture using the different modeling techniques available in Cinema 4D, however, all professional level 3D applications offer some variation of these tools as well. In the end each student will arrange all of their individual models to compose one scene, to texture, light, and render.

This class is intended for anyone who has ever wanted to add 3D design to their repertoir, has an interest in product design or architectural rendering.

There is a free student version of Cinema 4D available online. 

Transcripts

1. Learning the Cinema 4D Interface: - Hello, - everyone. - Welcome to introduction to three D Modeling with Cinema four D. - My name is Carlo Diego and I will be your host throughout this course. - Before we really dive into the program and I start showing you what the interface is all - about. - I wanted to show you a example of what we will be creating. - I also wanted to show you where you can get a demo version, - just in case you don't have cinema four D. - Now, - keep in mind this is an introduction class. - This assumes that you know nothing about the program. - So if you are a seasoned cinema four D user, - this may not be the course for you. - However, - you never know. - There's always something to be learned. - I'm myself experiment with the program almost every day and just to give you a little bit - of background about myself, - I've been using three D programs for about eight years now. - I'm a designer, - three d artists and animator in the industry. - And, - um, - I used cinema four D pretty much for all my three D work. - I do come from a Maya background, - but I have in the last five years pretty much switched over to set up a 40 completely. - So let's go over to Firefox, - and I wanted to show you the maximum dot net website under the products tab. - If you go to the bottom Mousa Dembele version and you'll come to this page where you can - input your information and download a 45 day trial of the program now, - as you can see, - Cinema four D is used in many, - many different capacities. - It's used in motion graphics, - film animation, - three d modeling design, - etcetera. - Um, - when you do come to the bottom, - I would recommend that you download Cinema four D studio. - Since it's the one that offers the most tools within the program, - different versions of Cinema four D come with or without certain plug ins and other effects - and features. - So Cinema 40 Studio will have the most offer you. - Now, - if you are a creative cloud member, - you already have cinema four D light. - As long as you have a version of Creative Cloud Creative Cloud. - Excuse me that has after effects, - Then you also have cinema for the light cinema. - Ford, - the or Rather Max on an adobe, - went into an agreement earlier this year where this light version of the program is - included with the creative cloud membership. - Now, - everything that we do in our class, - you'll be able to follow along with the light version than any of the other versions inside - of Maxim. - So what That said, - let's move over to preview so that I could show you a sample of what we will be created. - So we will be creating an interior. - Orender will model everything in this scene. - We will start out with building some of the objects that you see on the table the table - itself, - the chair creating this molding across the bottom of the wall, - this floor and even this frame with the image. - Now, - the images a personal of mine from several years back, - a show that I did. - But you can use any image that you'd like inside of the frame. - And if you'd like, - you can also and I actually encourage this. - Take the techniques that you learn, - creating all of these objects and look around your house for other things that you can - create using those same techniques. - Now, - let me just switch over to this screenshot right here. - This screenshot shows you what the screen capture software that I'm using will be - displaying every time that I click on the screen. - So if I do a left click, - you'll see the orange. - If I do a right click, - you will see the yellow. - And if I do a middle mouse button click, - you will see the blue. - Now I do recommend that you use a three button master. - This most three D programs really benefit from a three button mouse. - I myself amusing away calm tablets. - So if you have a tablet, - map the buttons on your stylists so that you have all three buttons on your stylist. - Um, - navigating Cinema four D is a combination of mouse clicks and usually the option key on - your keyboard. - Also, - with that said, - on the bottom right of the screen, - you will see every keystroke that I press on my keyboard. - So this, - for example, - is option. - That is command, - and that is control. - There's also shift and escape that you might see appear on the screen from time to time. - I might use the space bar, - and that's what you will see down below. - So let's switch over a cinema four d. - Actually, - before we do that, - I want to show you one other screenshot of what we will be creating. - And that's this right here. - Towards the latter part of the course, - I will be showing you how to set up a camera so that you can have shallow depth of field in - your renders. - Now, - as you can see, - the foreground object is in focus, - and everything going towards the back starts to go out of focus. - This is an awesome technique for you to try out with different renders and different camera - angles, - so I really, - really recommend that you try this out. - Once we get to that part of the video, - let's switch over to Cinema four D, - and let's start going over some of the objects that will be using. - Now a three D program has way too many tools, - buttons features, - settings for us to cover in just one course. - I teach it at a college level, - and I tell you that pretty much everything that you'll be learning and this course is what - I showed my students about the course of a semester. - We're going to take all that information and really just pack it into this course because - it's a video course. - You're able to pause, - rewind and go through things in more detail at your own pace. - So that's really a fantastic way to learn. - Um, - and by all means, - send me an email, - drop me a note on Twitter at Carlo Diego, - or, - you know, - just put it in the comments and we'll work through this together. - So what? - That said, - let's start going through some of these, - um, - techniques to navigating Cinema four D. - I'm gonna go ahead and open a new document. - And this is Cinema four D. - Pretty much out of the box. - This is the startup layout I did close to small windows that are located down here and - those air mainly animation tools. - We won't be doing any animation in this Siri's. - So I just closed those out so that I could have a bigger view port to work with. - I'm gonna throw a cube into the scene, - and since I clicked on it, - a menace will show you This is the many where you will find all of the polygon right out of - the box. - So if you need a sphere, - this is where we'll go cube cylinder, - etcetera. - You go to this menu here. - They are also accessible up here on the create object menu. - But I find that coming up here is a little bit more tedious than just clicking on this - button and then, - visually seeing what I want. - Excuse me. - Eso really quick navigating in cinema four D is usually a combination of holding down the - option key and left mouse button clicking to rotate. - You can also rotate by going up here to this upper right hand corner and using this circle - with a dot inside the center. - If you click and hold on it, - you don't need the option key. - You can rotate around the scene and around your object, - but using this combination of keyboard and mouse click is really the best way to go about - it now. - Another thing you could do is if you do option and right mouse click, - you can zoom in and out. - You can also zoom in and out using this button right here. - You can just click and drag just as we did before with the rotate, - and you could move in and out if you need to pan around your scene. - You would use this first button up here, - or you would use the option and middle mouse button to pan around your scene. - So those are the three most important things in terms of navigating inside of cinema. - Four D. - Most three D programs have a very similar workflow, - so it's really important to get used to those things right out of the box. - So if we go down the let's go across the top first this first many here will have all your - selection tools. - Uh, - depending on which selection tool you have, - they work a little bit differently. - This one is just like a click and drag kind of a thing. - Um, - if you go to the rectangle selection, - you create Marquis use very similar to photo shop. - If you use the lasso again very similar to photo shop, - it just automatically starts to complete the shape before you even finish it. - And then you have a polygon selection at the bottom, - you can create polygonal selections, - so those are the four selection tools, - but one of the most important things to show you, - or two of the most important things to show you at least for the live selection tool is - that it has a radius that if you click and drag with your middle mouse button, - you can change the radius of your of your selection tool. - So you see, - the radius here is changing as I right click and drag back and forth. - Another thing that's really important to note is the only select, - visible elements if you click. - If you have this checked on, - then whenever you click on an object, - you're only selecting the faces or the parts of the object that are facing the camera to. - Better to better show you what I'm talking about. - I'm going to make this object creditable, - and we'll be doing this quite a bit throughout the serious. - You can either press this button or hit the letter C, - and you'll make it creditable. - Now we've already got the live selection tools, - so we're gonna go toe faces. - And since I've only got only select visible elements selected, - I'm Onley selecting this face. - Now if I uncheck Onley, - select visible elements and I click here, - I'm actually selecting straight through it. - So I selected two faces. - If I click here, - I'm selecting those two faces so keep those things in mind as you go through the series of - videos. - Another thing that's important to note is that once you've made something edible, - you can select paces as we've been doing just now, - Edges or points. - All of these, - we will cover in later videos. - I just wanted to touch upon them right now. - Now, - if you want to move the entire object, - you would click back on this object mode and you could move the entire object. - So those are the four different ways of four main ways to manipulate an object. - If you go across the top, - we've got our move scale and rotate tool on. - Those do just that. - They rotate, - they scale and they allow you to move things. - Each one of these handles the red, - green and blue ones are represented representing the different axes inside of the View port - . - So x is always gonna be read. - Why is always gonna be green and Z is always gonna be blue. - So just keep those things in mind Now You also see these bands right here X, - y and Z inside of the view port. - That's just kind of to orient you and let you know what's going on. - This is our horizon line and probably helps if I turn on my grid. - So now you see where my floor would be. - I tend to turn the grid off when I'm working in some before the, - but this is the way you'll see it once you install it. - So once we go through move past knees, - these will be our render. - Settings will be using this mostly. - This is the quick render, - just to get a quick view of what that will look like. - Um, - we might also experiment with the Render region. - This allows you to select just a portion of it to render. - So if you click and drag, - you can create just one part of that that's being rendered on then The Render settings, - which has a bunch of different features, - are a bunch of different settings to offer. - We'll be covering those much later on in the Siri's, - so don't worry about these two at the moment. - This one is just kind of to give you a preview what it will look like in the end. - We have already spoken a little bit about the polygons. - Feel free to play around with these each time that you introduced one of these objects to - its seen Aziz, - long as it's in its base mode, - and I deleted the original one and added another one. - You have all these different settings that you can change. - So the size of it, - the number of segments and each one of the axes, - and again we'll be covering these as we go along. - This is just to kind of introduce it. - If you go up to display garage shading with lines, - you could start to see these segments that I'm adding to the model. - So keep that in mind. - If you ever need to see the actual geometry, - just go to display. - Turn on garage shading with lines and make sure that wire frame is turned on as well. - So keep going down the list up here. - Excuse me. - Uh, - these will be our spine. - Tools will touch upon some of these later on in the videos, - starting with. - Maybe the laws, - once we start creating the laws, - will explore nerves modeling and more about that. - As we go along, - we'll explore some of these modeling objects, - mainly bull connected symmetry. - We won't really touch upon to formers. - But if you want to play around, - those just dropped that on top of it, - and then you can start modeling or affecting the geometry a little bit differently, - as you can see. - But we won't really deal with reformers in this. - Feel free to play around with those and ask me questions. - If you want to move our play around with, - those will also be introducing a camera and finally some lights. - So that's really the basic basic tools that will be working with, - Um, - there's a lot more to the program, - but those are really the basics that I want to focus on. - I don't want to overwhelm you. - I want to introduce you everything that you need to get started and really go on from there - to start creating your own things. - Now, - one last thing before I wrap up this video is this window down here. - Create, - you'll see create at a function and texture is the material manager. - The material manager is where you can create different textures for your objects, - so we'll introduce this. - I believe in video number three, - if I remember correctly. - But that is really how you start to add color and texture to your objects. - So what? - That said, - that's really just an overview of everything that we're going to be covering. - Really excited to be taking you up on this journey of learning. - Three D Modeling and cinema four D There's a lot to cover in a lot to learn. - Like I said, - it's one of my favorite programs to work with. - But, - um, - again, - my name is Carlo Diego. - I will be your host throughout this series of videos. - And I really hope that you guys enjoy it as much as I enjoy working with it and it learning - and showing other people how to use it. - So hope to see you soon. - The next video. - Take care. - Bye bye. 2. Making a Cylindrical Box: - Hi, - everyone. - Welcome back to part two of this introduction to Cinema four D. - We are going to be covering some basic modeling techniques with this next video, - and I really want to encourage you to think about other objects that you could create using - the same steps. - Now, - I do want you to recreate this with me, - but at the end of it, - I also want you to look around your apartment, - your room, - your house, - and I want you to look at some of the objects that you could recreate following the same - techniques and maybe build something really quick and just posted on the comments so that - we can all take a look at it. - We could all kind of help each other along. - So what? - That said, - we're going to recreate a small wooden box that is sitting to the left of me. - Um, - pretty well, - from where I'm sitting, - so I'm not gonna bring it over. - Um, - and we're just gonna use some very basic techniques. - We're gonna go up to our primitive menu and we're going to use a cylinder. - It's a cylindrical wooden box, - so I'm just going to take this cylinder, - go to the attributes over here and start changing some of these things to match the - proportions of the shape. - So you see me doing right now is under the height. - I'm just reducing the height to kind of match the shape, - the basic shape silhouette of the box on. - I'm gonna leave the radius at 50. - The height at 60. - As you can see here, - we're working in centimeters. - Um, - and right now, - the numbers don't really matter for what we're recreating. - We can always scale things up, - scale things down as we see fit. - But it's important to just get the right proportions, - more so than it is to get the right measurements. - Now, - I could get the box and I could go get a measuring tape and I could measure it and get the - exact same numbers that I need to recreate it. - I'm not going to do that for this particular case, - but if you feel that that would help you model your object in your apartment or house, - then I would recommend it. - It actually is very helpful to know the measurements and kind of get started that way. - So this cylinder, - some of the things that we need to take a look at really quick. - I'm just gonna go up here to these rendering buttons and I'm gonna hit the 1st 1 which is - for a quick render. - You'll see that I have something that's not very exciting. - It's a gray, - very sharp edged cylinder. - Now, - very few things in life have a perfect 90 degree edge. - Unless it's laser cut and even still with wear and tear, - it eventually starts to adult out. - So we'll address that towards the latter part of the video. - For now, - I want you to take this video, - get the height and the radius approximately where you need it to be. - The height segments. - We can leave it one, - but I'll turn on garage shading with lines appear in the display menu. - And if you see if you take a look at this height segments, - we can add the number of segments in why. - But for this particular model, - we're gonna leave it at one. - The rotation segments are, - as you would imagine, - the rotations around the radius because it's a cylinder. - You can almost picture these as cuts in a cake. - So here we have rotation segments of three, - and that would give us a triangular shape. - And you can keep adding more and more as you go up when you get more definition now by - default, - it's a set to 36 which is fine, - but I want some really, - really sharp close ups of this object, - so I'm gonna bump it up to 72 now. - If you had a lot of objects in your scene, - you probably wouldn't want to go up to 72. - Once you start seeing the lines kind of converge and create this really dense section, - you really start to text the rendering or your graphics card in your process around your - machine quite a bit. - So you want to try to avoid this type of concentration of lines, - but in this particular case, - it's one object shouldn't really affect us that much, - so we're gonna bump it up to 72 now. - The next step is to make it creditable. - You can either hit the letter C on your keyboard once you have it selected, - or you can go to this button and just click it once. - You'll see immediately that the symbol next to cylinder changes to this three point polygon - . - If I hit on, - do we go back to this cylinder shape, - which is what it is. - But as soon as you make it creditable, - it becomes inevitable polygon, - which shows you the points, - the edges and just one really basic shape. - What it's telling you is that you can now use these tools here the point, - the line mode and the plane mode to select different parts of your object. - If you have the plane mode, - you see that each one of these highlight highlighted bits are the parts that I can select - Now. - One problem with with when you make something creditable is that all of these faces or all - of these main sections of your object are now disconnected. - And we don't want that. - We want this to act as one as it was doing before. - So I'm going to use the point mode, - select a couple of the points hit command A to select all, - and then I'm gonna go up to mesh commands and optimize. - And what that's done is that it's connected all of those points when it now access one. - So that's a very important step to do. - Um, - make sure that you after you make something creditable that you either optimize all the - points so that it merges all those different faces or parts of the object together, - or there's a couple of other ways to do it. - You can use a connect object, - and then you can throw your object in a connect object. - Make the connect object edible. - That's another way of doing it. - This is the faster I think, - cleaner way of doing this. - So this is what I would recommend you do for now. - If you have all these faces selected, - the top that is you can do it one of two ways. - You can either use a live selection tool and just kind of drag around. - Make sure you select all. - I'm going to show you another shortcut, - which is really helpful. - It'll help speed things up quite a bit if you have nothing selected, - and you can either go up to the select tool and go toe loop selection. - Or you can hit the letters UL in succession and you'll see that it now highlights the - entire ring or the entire top of all the faces, - so you can just click once and you get all of those faces selected. - So now that we have all those selected, - I'm gonna introduce you to the extrude inner tool and that's up here in mesh. - Create tool, - extrude inner. - We're gonna be using extruded inner extrude and bevel for the rest of this modeling - exercise, - so I'll also go over the shortcuts. - But if you need to, - you can always come up here and find them in the mesh and create tools so clips. - So I select my faces. - I hit the letters. - You I I'm sorry. - The letter I No, - no, - not you. - I you I inverts your selection. - I get to the extrude inner and you'll see the little symbol for extreme inner following my - cursor around. - That means that when I click and drag now, - I can extrude my faces inward and that's what I want. - You can also go over to the offset and type in exactly what you wanted to offset or how - much you wanted tow opposite. - So let's just do it even 2.5 and I'm gonna hit the tab key just to jump out of that. - And now this is offset 2.5 centimeters. - I can now hit the letter D, - which will get me the extrude tool, - and I can click and drag to the left to extrude down or click and drag to the right to - extrude up in this case because we're making a box. - We want extrude to the left, - and I'm going to keep going until right before I passed the bottom of the cylinder. - So I want to leave it right around there, - and that creates the hollowed out area of the box. - So that's perfect. - That's we need now. - As I said before, - very few things in life have a very have a sharp 90 degree edge. - So this 90 degree edge here doesn't really work for me. - I want to change that. - So I want to switch over to the line tool, - Use the loops selection tool again, - UL or under mesh, - create tools. - I'm sorry, - Select. - You'll find the loop selection and I want to select that line, - and I want also select that line and I might as well do the bottom line. - So we've got our three edges selected, - and now I'm gonna hit the letters m s or you can go to Tool. - I'm sorry mesh. - Create tools, - bevel, - and what the bevel tool does is it creates edges or rounds out edges. - I should say, - if we come over to some of the options here, - you can change the type from linear to convex, - calm, - cave busier or a user defined preset. - For now, - we're going to use convex, - and that's going to give us around it edge. - But before it gives us around it edge, - we need to add some subdivisions so that it actually has more geometry to work with. - So now that we've got our three subdivisions and convex, - we can click and drag and Seymour rounded out edge. - That's exactly what we need, - so that when the light hits this, - it will reflect a little more naturally. - So I'm just going to do and even 30.5 centimeters and I'm gonna hit, - apply. - And now, - if we do a quick render, - you'll see this edge catches light differently than it did before. - Before, - it was just one flat object, - another flat object or surface, - I should say. - And now it's rounded out in a catch of light a little more naturally. - So that's what we want that looks a lot better now. - So let's go ahead and select the bottom and just extruded in a little and make it look the - way the actual model looks will probably never see those bottom. - But you never know. - Maybe you want to create a scene where a kid knocked it over. - I don't know. - So it's just extruded in a little. - And I hate the letters, - the letter, - I excuse me and then the letter D to create an extrude. - I don't want to pass the other one. - I just want to go in right before I pass that face, - and it's just to create this little edge. - Okay, - so if we hit, - command are or hit the quick the, - uh, - quick render button Excuse me, - then we can see where we are so far, - and that's great. - Now let's name this base or better yet, - box. - So now that we have our box, - we can get another cylinder and make the top of it. - So it's got a cylinder. - It's way too tall, - so let's make this much smaller. - Let's try five. - Let's leave the radius at 50. - We need it to be about the same size. - Let's increase the segments because, - you see, - it has less definition in the box. - Now it matches. - So because this is not edible yet, - we're gonna go ahead and go to caps. - We're gonna increase the segments to match the beveling that we did on the other part. - And we're gonna turn on filet filet bevel more or less does the exact same thing. - I'm going to reduce. - Oh, - whips. - These are the wrong segments. - You can leave that at one. - This is the one I want to change. - The three and the radius. - I believe we did 0.5. - So now we have the exact same curvature on the top that we have on the bottom. - The only other thing that I want to do to this is I want to select this bottom and extruded - down so that it kind of locks in place and doesn't just slide around. - So with this cylinder selected, - we hit the letter C to make it creditable again. - Make sure your face mode is selected and you can either use the live selection tool to - select all of those or you l to get the loop selection. - And then you get all of them at the same time. - So remember that when we extruded in on this part, - we did 2.5. - Now we already do rounding off 0.5. - So now we need to do a sorry about that. - We need to do an extruded inner of two centimeters in order to match the other part. - Let's do 2.25 just to be on the safe side. - So we'll hit the letter. - I for extruded inner will do 2.25 You can also do this manually by just clicking and - dragging. - But I want to just get us close to what we need is possible without any guesswork. - So another thing you could have done was just clicked and dragged. - Um, - but for this we're just gonna do it this way. - Get the letter D for your extra tool and click and drag to the right to make this part come - down. - So now if this part were sitting on top of this, - it wouldn't slide off the top and it would lock in place like a box should. - The only other part that we want to add is let's go to the model mode and now we come push - it down into position. - Next part that we want to do is just add a handle up here because right now it's kind of - awkward to have to wrap your hand around the entire thing to open it. - So I want to add a little handle up here. - Let's go back to our faces, - Tool UL for a loop selection. - Select this part. - And rather than keying in numbers, - I'm now just going to do it by eyeballing it. - So we're gonna click and drag, - click and drag, - click and drag. - If you run out of screen space, - you can let go and then switch over to the scale tool, - and you can keep scaling those traces down. - So that's what we want. - We just want a really small part here. - And they had the letter D to extrude out announced hit the letter T or grab the scale tool - to scale up with the letter D again just to extrude upwards. - And now we've got a little handle. - The problem is that it's very sharp, - so let's get the line tool again. - Get the letters U L for a loop selection and grab that that edge hit em s for Bevel. - And we already have the 0.5 and three subdivisions from our previous use of the tool. - So we can just let the apply button. - And now we've got a top and a handle one. - Last thing I think I want to do is maybe bad. - Will this edge out a little? - So let's select this ring M s again. - And 0.5 is probably too much for that bottom parts. - Let's 2.25 clips 0.25 hit, - apply. - And there we go. - If you zoom out a little, - it commands are There's our box. - Later Wrong will come back to this model and will add a texture for now, - just to command s give it a name and save it and we'll come back to it shortly. - All right, - I'll see you guys in the next tutorial by 3. Making a glass vase: - everyone. - Welcome back to part three of this introduction to modeling with Cinema four D. - I am Carlo Diego, - your host, - and what will be covering today is untraditional in herbs modeling. - Now, - you might be asking yourself what? - Our nerves, - nerves, - air, - non uniformed, - rational beast blinds. - I know it's quite the mouthful. - So I actually googled it and pulled up this Wikipedia page just for reference of what they - are now. - Basically, - nerves are mathematical formula is used to interpret late linear points to create occur. - If you see down here on the bottom right, - you'll see a very basic version of a Nerb spine. - So you're actually you would be putting down these points and it would be creating the - spine. - Now it doesn't does not directly relate to the approach that we're going to take in that - we're gonna create a spine inside of illustrator using the pentacle. - Uh, - and it's more of a how should I say it's more of a It's more of a busy acre that will be - creating inside of illustrator the Nerves. - Tools is just what they're called inside of cinema. - So it doesn't really matter what type of supplying you create whether it's busier or nerves - , - Uh, - or a B spline, - I should say, - But basically nerves modeling inside of the three d world is modeling using spines as the - basis, - so we'll actually be starting out inside of Illustrator. - I've got a very basic blank document here with grids and guides. - I'm going to switch over to the pencil and I'm just gonna create the outline of a vase now - . - I also looked up in Google of Laws is and I found this one that I think is a pretty good - shape. - It's got some curves. - It's got some straight edges at the top. - It's got a very interesting shape. - So we're gonna actually be taking this one, - and I'm just going to right click to copy the image, - turn the switch over to Illustrator, - and I'm just gonna do command V to paste it in place, - and it's much bigger than I expected. - So I'm actually going to scale that down on. - We're gonna use this as our guide to create are split, - so that should be fine. - Zoom in here and let's try to center this a little better. - That should be fine. - I'm gonna switch back to the pen tool, - and I'm basically gonna create the outline from the outside point of view and then also the - inside, - and this will be more. - The reason why I'm doing this will be a little clear once we move into cinema. - But for now, - let's just start from the bottom, - work our way up and then work our way back down while I have the image selected, - I'm gonna hit command to toe lock it. - And one of the things that we need to take into account is the fact that this picture has, - even though it's just a little bit, - a small amount of perspective. - So the bottom here would not be curved the way the images because it wouldn't sit flat on a - table on the surface. - So we need to actually flatten this out. - And we're just going to assume, - uh, - this bottom portion a little bit. - We just kind of assumed that it's flat and then we're gonna start working our way up. - I could always adjust these points later on by selecting them and clicking and dragging on - each one individually. - Uh, - it's not, - um, - how good you are with the pencil is not necessarily what we're trying to test here. - It's just a matter of learning how to create a spine inside of illustrator and then import - or export rather and then import into cinema. - So that's really the most important part of this video, - uh, - that you'll be taking away from. - So let's go ahead and just play some of these points probably too far in undo that place. - One more here and just a bit. - And then I could start coming back down. - I'm just following Be inside. - Or what I think is the inside outline of this shape. - Okay, - so let's see, - we have we might have. - Actually, - first thing I'm noticing is that this doesn't have a color, - so it's really hard to see. - There we go. - And now the other thing I'm noticing is that we might might not have joined these two, - So it's good. - Select those to join them that connects those two, - um on and think we can move this point a little bit. - Maybe just some of these curbs and these handles a little make it feel a little bit more - natural and organic. - And same thing goes for these points down here Let's average that I don't know. - Sorry. - Select. - Let's go up here. - And her hit alone up that handle somewhat Do the same for this one. - And this one just feels a little bit more organic. - So so too much So it's flattened out the bottom. - There we go. - Go. - This last one, - some love. - All right, - so there's our curve. - We cannot go into our layers. - Weaken. - Delete. - 1st 1 to unlock but weaken Delete our vase and we need to turn off and delete our guide - because otherwise, - when we import this into cinema, - it will show up. - Now you need to either delete or move them to a different file. - But basically, - anything that you have in your illustrator file will be imported into cinema. - So if you have layers that are hidden, - they actually will show up in cinema. - So try toe on, - Lee, - have the shape that you want to bring into cinema in the document that you're gonna be - exported. - We're saving rather, - let's do command, - shift us to save and let's call this Roz outline. - And for now, - I think I'm just going to 38 a folder somewhere. - Call this clause. - We'll save it in there. - Now, - this is the really important part. - After you've selected a location where it's gonna be saved to you have to go up here to - version and change it from whatever version you're currently working with. - I'm an illustrator. - CC, - you want to go down to Illustrator eight? - This is the most important step in exporting and importing to cinema from Illustrator. - It has to be illustrated. - Eight. - We're gonna hit, - Okay? - And then we're gonna switch over to cinema, - and we're going to go up to merge objects up here in your objects window. - You have the merge objects command. - You also have it under file merge. - Um, - but we're going to use the one in the objects window. - You can also do command shift. - Oh, - or command. - Oh, - and the difference is that command shift, - though, - will bring it into the existing document. - Command O will create a new document with that with that object with that file. - So we're gonna go to our vase, - we're gonna open up our outline, - and we're just gonna hit, - okay? - And that brings in our flowers outline. - But cinema four D uses the registration point from the document itself. - So top left and then that allows just appears down here. - So the first thing we'll do is actually change this to zero. - That way, - it's exactly in the center, - and we don't really need to do anything else to this. - Um, - once we add some geometry, - you won't see some of these irregularities. - Um, - so let's go up here to the nerves menu, - and we're gonna use a Leith Nerb. - What this does is that you see those little white outline over the green icon is it creates - geometry using Justin outlet. - So we'll use lays nerves and we'll take our vase and throw it inside of the lays nerves Now - , - right off the bat, - our object is centered. - So we need to actually do is move it off center so that we only have the edges where we - started putting down the points, - Um, - along the y axis. - So I'm actually gonna go to filter and turn on my grid so that you could see what I'm - talking about. - Let's turn off this late nerves, - zoom out a little, - and we need to bring this edge into this access right here. - So let's just move it And now if we turn on late nerves again, - you'll see that our vase is the right shape. - So there we go. - That is our wells. - Now, - a couple of things really quick again. - We want to round out these I just because nothing is exactly 90 degrees. - So let's go ahead and take this object. - Make it creditable. - Let her see. - And then let's use our loop selection tool and our line mode to select the two lines up - here. - So we'll do a loop selection around those to get the letters M s and we'll get our bevel - tool, - the inter office that we're gonna change 2.5 and we're gonna use three subdivisions. - And again, - we're gonna change this to Convex, - and I'm just gonna hit apply What that does is it rounds out these I just ever so slightly - just gonna hit a quick render and Okay, - so it did bevel the edge, - but we didn't at enough subdivisions in its rotation, - so we need to actually undo a couple of things real quick. - Let's undo, - undo, - undo. - Go back to where the late nervous still active and this subdivision needs to go up. - I should have caught this earlier. - So instead of 24 you want to go up to let's do 72 just like our box. - And now we can hit C for the make irritable button and again make these two loops elections - not that one. - Uh, - never go hit the letters M s. - Our attributes are already in there. - Let's just hit. - Apply now, - If we do a quick render, - you'll see a really smooth edge all way around so we can zoom out to take a look at this - And there is our vase. - So in a really small amount of time, - we were able to create a shape that would have been a little more difficult to recreate - inside a cinema. - Four D With the tools that are in here again, - we could have used blinds inside of Cinema four D to recreate this, - but I always find it a lot easier to make my spine inside of illustrator. - Let's say, - for example, - a client hands you a logo. - Chances are it's an E. - P s file or an illustrator file, - and you need to import that into cinema to start working with it. - So this is really important workflow. - It's a really important process. - Toe learn. - And, - uh, - before we continue our before we sign off on this video what? - I want to show us some of the other nerves and how you can use those to your advantage. - So I'm just going to double click on this top little circle here, - and that'll hide our object. - It's not disappeared. - It's still there. - I just wanted to hide it for a quick second. - So I'm gonna make a supply and I'm gonna take a circle. - I'm gonna make this circle really small. - Now, - This is just for demonstration purposes were not really building anything with this one, - But this is one of the more important nerves that you could learn. - So we're gonna do a sweep nerve, - and we can drop these two inside of the sweet verb and you immediately see what we've - created. - We've basically taken the first shape and extruded it along the spine in this case, - swept it across the spine. - We select it, - we turn on garage shading with lines. - You could see that it's basically taken that circle and moved straight across. - So if we wanted to create a different shape Let's say we delete that circle and we throw in - a rectangle. - Let's make this much smaller and now added into our sweet nerves instead of a circle, - it's taken that square and swept it across the second spine. - Now the order doesn't matter. - So if you were to switch the order of these, - you would get a completely different shape. - I'm not sure when this one in particular would be helpful or come in handy, - but you can see that the order of these two does matter. - You want to take the silhouette, - make sure that that one comes first, - and then the second spine is the one that it's going to be extruded or swept across. - Now, - there a couple of different attributes down here, - you can turn the caps on and off, - not meaning that the ends will either be closed off or not. - So if you needed to create a you know, - an opening, - you could just turn off the caps and then you could go and see inside of there. - But sweep nerves, - late nerves, - um, - lost nerves and extrude hyper nerves. - These are all very, - very helpful tools, - and I definitely recommend that your experiment with, - um I just wanted to introduce to you more importantly, - the process of creating a spine inside of illustrator exporting and then importing that - into cinema four D. - So what? - That said, - I'm just gonna delete this, - Bring back my vase, - and we're gonna leave this right where it is. - Just do a quick render and I'll leave you guys to experiment. - I encourage that you find something in your house that you're able to recreate using this - process, - and I'll see you guys in the next video talk to you. 4. Learning about textures: - everyone. - This is Carla Diego welcoming you back to part four of this introduction to modeling with - Cinema four D. - Today we're gonna be covering a very important part, - one of my favorites creating textures and making textures for your objects that match their - real life counterparts. - So I want to start out with showing you this website CD textures dot com and you need to - create a log in account with them in order to be able to download any of their textures. - I already have an account s so I'm not gonna go through that process. - But what you do is you basically, - you can either do a search for the type of texture that you're looking for, - or you can just go down the list and start poking around and seeing what they've got - available. - Now, - for our purposes, - we we need apply with texture for our box. - And the one that I found is this one right here. - Uh, - it's called plywood old 0014 You can download this and then open it up in photo shop and - adjusted a little bit. - Change of saturation, - etcetera. - You can do those things in cinema, - but because this is a basic introduction to textures. - I don't want to go too much into, - uh, - some of the more complicated ways of creating textures and cinema because it could be a - little overwhelming if it's your first time doing it. - So what I want to do really quick is just go into the vase, - the vase file, - which already had open and on a copy it and I'm gonna paste it into a new document. - I'm gonna do the same thing with the box. - Copy the box. - Oh, - and before I continue when we left off in the box video, - we just had a top and a box sitting by themselves. - What I did was group them together inside of a knoll object. - Now you can either highlight both and do command G to put him inside of a knoll object, - which is basically like a folder. - Or you can go up to your Primitives Primitives menu and get a knoll object and then just - drag and drop them into that. - So that's how you group objects and makes handling them a lot easier, - especially if you need them to. - Let's say resize uniformly eso we'll just call this box and we'll copy it, - Command C and then move over to our new document and paste it in place. - Now, - Right now, - we just have the two objects floating in space. - But we want to bring in a plane so that they have a floor to sit on. - And I'm gonna change these attributes to 1000 by 1000. - And whip and height segments don't really matter, - so I'm just gonna leave them as they are now. - Everything right now is perfectly centered, - so we want to bring these up. - So they're sitting on top of the plane, - so just position those as best you can. - You can also switch to one of the side or front views to try to put him in the right place - . - Uh, - just at a glance, - pretty much pretty much in the right place. - I just want to move this. - It's sitting side by side and there we go. - A quick render shows us that everything is the same color and all too bland. - So if you don't already have it open, - you can go upto window Material manager or you should already have it open down here on the - bottom left. - You can double click on that and that gets your material. - Now this is the basic material. - It's slightly off white, - and it has the Speculator Channel turned on. - That's fine. - We can leave these just the way they are. - We just want to give the floor a small bit of color, - a little bit of texture, - so I'm just gonna drag it onto the plane. - You can either drag it into the object and object panel, - or you could drag it onto the object itself in the view port. - So once you added that texture, - and we somehow managed to get almost the exact same color as the background. - So let's actually brighten it up a little bit so that it's more obvious. - Here we go, - close that back up to another quick render. - Now we have a floor. - Great. - So as promised, - let's That's one of name. - These let's double click to create a new texture. - We're going toe. - Add our wouldn't texture to the color channel, - so if you go to texture, - there's a little drop down here. - You can load an image. - I've already have already have mine saved, - so I'm just gonna hit. - Enter and sitting before D wants to know if I want a copy of it in the project folder. - I do not. - Because I already have several copies of this texture. - Um, - here, - it shows you the past of where the file is located, - and that's fine. - If you ever need to re link it, - you can press that button point cinema four D to where it's located in case you move it. - So that's all fine. - We want to go to a speculator channel, - and this is a little too much speculate for a wooden box. - Would is generally a lot duller unless it has some kind of varnish. - Uh, - this one in particular doesn't not. - So I want to drop the height of it. - So it's a little dollar. - I don't want to turn it off altogether. - I just want to dole it out a little bit more, - and you can see the example of what's happening in this little box right here. - That's our preview window on gonna leave it at that and just close that window now I want - to apply it not to the knoll of the box, - but to the objects individually and the reason for that is that these are two very - different objects. - If we apply it to the box the null of the box off the bat, - you see that it's not exactly what we're going for. - It doesn't look right around the body of it. - And even the top looks a little bit too machine made. - It just doesn't look natural. - So we want to take this texture and applied each one of these individually because we want - to map it differently. - So here it's now sitting on the top. - And if we select the texture tag will open up the attributes for the tag that's applied to - this object. - And instead of the projection being u v W mapping, - I'm gonna change it to cubic. - And what that does is change the way that the texture is projected onto the three D object - . - Now you can't see the original that I have in my room, - but this is closer to the way that the texture looks on the object. - So I'm gonna leave that texture just the way it is on that object. - And then I'm going to hold down command. - We haven't covered this yet, - but we're gonna hold down command, - click and drag on the texture and drag it to the next object, - and that's gonna copy it and automatically throw it onto that object. - Now, - unfortunately, - this also needs to be adjusted. - So the cubic projection that we added to the top does not work from the box. - You could see this scene right here, - and that's not exactly what we want. - Because depending on the angle that we use this at, - we don't want the user or the viewer to be able to see that scene. - So witness texture tag selected. - We can go back to the projection and change it to cylindrical. - Now, - Cylindrical works for us because this is a cylindrical object, - so it works really well, - you can adjust some of these tiles If you feel that it's too stretched out, - you can actually change the tiles of it and make it look a little bit more natural. - And I think that works pretty well for this object. - So I'm gonna leave it at two. - The top should still be Cubic. - Yeah, - the box is now cylindrical, - so that takes care of our wooden box, - but we don't want to add a texture to our vase were at least not a image texture to our - vase, - because that's not exactly what our vase looked like originally. - Originally, - this vase was transparent. - It was made of glass on, - and it actually had a Grady in from purple to clear. - So we're going to recreate that by double clicking and making a new texture. - Let's call this. - We'll call this glass and for glass. - We, - of course, - need a transparency Channel to work with. - Now, - as soon as we turn this on, - you see that it disappears almost entirely in our preview. - Um, - different types of glass, - different types of plastic have different refraction indices. - Now, - if you do a quick search for refraction index, - you'll get a table of all the different types of refractive indices for different objects. - Now, - this basically means that each object reflects light or, - um, - changes the retraction of it quite a bit. - So if we scroll down, - this is the Wikipedia very intense definition of refraction. - We want to just get the refraction of glass. - I don't see the table here. - I know I've seen one before, - but just as an example, - you can see that water has a refraction index of 1.33 If we do refraction of glass, - then we can get the refraction index of the glass. - That's not what I want. - 11.50 to 1.54 somewhere around 1.5. - Here it is. - You do refraction of glass. - You'll get this very, - very detailed list of all the different types of glasses and what kind of refraction index - they have. - We're gonna go with something between 1.51 point 54 Ah, - and the refraction. - This is what really help sell glass. - Soon as we start adding some refraction value, - we start seeing that it bends light differently. - And that's what we want. - I'm gonna do 1.55 because I think that works really well for us. - Um, - that we have our reflection or refraction dialed in. - We can now apply this to our vase. - And if we applied to the waas still not applied to the walls. - There we go. - I do a quick render. - We'll see that it is now transparent. - Now, - glass definitely need some lights in orderto refract. - Well, - so we'll need to eventually add some lights to this scene later on. - For now, - we just want to think I added the glass to the plane. - That's what happened there. - Okay, - Now we could see things a little bit better. - Um, - so that's adding the glass to it now. - The glad the vase originally had a ingredient from purple to clear. - So we're gonna try to recreate that in here. - We're gonna double click on our material again. - Open up the material editor and inside of the Transparency Channel. - We can actually turn off color X. - It doesn't really make a difference. - We can go to the Transparency Channel and here, - where it says texture. - Rather than adding an image the way we did for the wooded box, - we're gonna go down to Ingredient. - What? - That does add a Grady into the transparency. - But we need a greedy that doesn't go from left to right. - We need one that goes up and down. - So we need to t v. - And I'm going to right click over the Grady int and invite the knots. - So now the darker colors on top bring this over a little bit so you could see better double - click on this to try to get the color that we need. - We need like a violet color. - And I have the operating system color picker which allows me to select any color in my in - my computer or on my screen. - You will have the cinema four D default unless you've changed it. - And the way you change it is you go up to your preferences, - you can turn on, - you can turn on use system color picker inside of units. - So turning this on will give you the operating system standard color picker. - So here we have a violet to white. - That's exactly what we want. - You can add a little bit of turbulence if we want, - which would just make it a little less a little less machine made in a little bit more - organic. - So I'm just going to 5% at a little turbulence in there, - and I'm gonna close that window now. - If we do a quick render, - we'll see the vase goes from purple to white. - We need to change the projection mapping two cubic. - And right now, - what's happening is that the texture ends and then it starts over again and then it ends - again. - So we need to offset this a little bit. - I'm gonna actually offset it. - I'm gonna do look a negative 40 and I'm gonna change the lengthen. - Why? - To fill the entire thing. - Something around there should be. - Okay, - do a quick render. - And now we've got our glass vase. - Now you can play around with these values to get the look that you're going for. - Member. - It goes from purple to a much from a violet to a much, - much lighter color. - So feel free to play around with ease. - What you don't want is to see it come back around the bottle. - Uh, - so a quick render here will show us that this is now looking almost exactly like our - original. - So play around with these with these different settings. - There are a lot of different settings that you can play around with. - If you go to the create menu, - you'll actually see that there are about a dozen different types of shade er's and these - are different times of materials. - Basically, - they all have different properties that you can adjust. - But for now, - that's a pretty good into introduction to creating textures in cinema four D and a lot of - the rest of what a lot of what you can do with textures is pretty much following the exact - same steps that we just followed. - Eso We're gonna leave it out here. - I'm gonna encourage that you experiment with these textures, - play around reflection. - You can also add a little bit of reflection. - Most glass has reflection, - so you can open up the material editor again and add some reflection, - usually by default. - It's a little too much, - so you want to turn that down a little bit, - but you get some really cool effects. - And once you start adding some lights to your scene, - you'll see these effects really enhanced by the lights. - So again, - feel free to go around your house. - Pick and object that you will need to texture or take the two models that we've already - created and added texture to them. - And then just do a quick render and see what you get. - All right, - I'll see you guys in the next video. - Thanks. - Bye. 5. Modeling with Cloners, Booles and the Connect Objects: - Hello, - everyone. - And welcome back to this introduction to modeling with Cinema four D. - This is video number five. - I am your host, - Carlo Diego. - And in this video, - we're gonna be recreating one of my favorite designers. - Or I should say, - couple of designers Ray and Charles Eames is one by one storage unit. - We're gonna do the one by one because, - frankly, - it's a little easier to handle in the three by two. - In a video that's no longer than 15 minutes. - To create this, - we're going to introduce two new tools the bull object and the cloner object. - The cloner object can be found under McGrath, - and the bull tool can be found under the modelling tools of modeling objects. - Bull, - and I'll describe them as I go along. - But just to give you some background on each, - the cloner object basically creates clones of whatever object you throw into it. - It's got a lot of different options and different attributes that you could change. - I really recommend playing around with it after you watch this introduction video and the - bull tool. - Basically, - it takes one shape and subtracts it from another so quick example we can make two spheres - that both of these into the bull object. - And then if we select the 2nd 1 and kind of move it out of the way, - you see that it's taking one sphere and subtracting it from the other. - So there's one. - There's the other, - uh, - it's an extremely useful tool. - It's got so many uses that I really couldn't even begin to describe all of them in this - video. - So I'm just gonna go ahead and start trying to recreate this small table here to use it as - an example. - So I'm gonna switch back to Cinema four D, - and I'm going to start with Cube now. - This cube needs to be three by 60 by three, - and that's going to create the starting point of our leg. - Now I'm gonna add segments in why I'm gonna do 10 segments and you'll see if I turn on - display garage shading with lines and I turn off. - My grid will be a lot easier to see. - You can see that I've added segments to the legs, - so every six centimeters there is now an edge going all the way around, - and that's gonna be helpful ones. - We start to add the bulls to this and you'll see that in just a moment. - So I'm gonna hold down command, - click and drag to make a copy. - Make this 2nd 1 just a little taller. - 62 should be fine. - And I'm going to put both of these inside of a bull. - So if you select both, - if you select both, - you could throw them into the bull object. - And the 2nd 1 we actually want to go into the coordinate Tad, - and I want to change its coordinates on X and Z 0.2 point to, - and now we can see what's left behind. - So the bull object has taken one cube the longer of the two, - and subtracted it from the original, - the shorter one. - And it's created this very industrial kind of leg. - If you're familiar with this piece, - if you're ever at the moment store, - I'm sure you've seen the team storage unit. - It's a very industrial feel. - Our has a very industrial feel, - I should say, - and that's basically what we're going for. - Its this galvanized metal kind of edge here. - So this is going to serve as the basis of our leg, - but now we need to make those holes that were in the legs. - So let's grab a cylinder. - Let's, - uh, - select the cylinder going to the object mode, - change its orientation to plus Z that will lay it flat. - Let's change the radius, - too, - Like a one point by No, - it's still one might still be too much. - It's changed the height of it. - Five. - Because we don't need it to be that long. - Took a letter Oda. - Zoom into it. - So yeah, - that's way to its way to live. - That's actually do like a 50.5. - That should be about right. - So we want to use this cylinder cut out to cut out holes inside leg. - But before we do so, - instead of copying this and distributing it ourselves manually, - we're gonna go into McGrath and get a cloner, - though the cylinder into the cloner and then select the cloner. - Go to its attributes tab, - and now we can see that it's distributing them in. - Why space. - However, - we want a total of maybe 10 and we want them to fit inside of our legs. - So let's just move goes down. - It's change views to one of the side views. - Zoom in a little. - Now we can position these almost centered. - So I did six centimeters and why I have 10 of them all together. - And if we switch back to our perspective, - you we can now get another bull through the leg, - into the bull cylinders into the bull. - And now we see that we've cut holes into the leg, - so that's great. - It's exactly what we wanted. - Um, - but you see how it's getting really dense here. - This cylinder inside of the cloner object has too many segments, - and we don't need that much definition on this because it's just it's a very small detail. - We drop it down to 12. - It lightens the load of the model quite a bit. - Um, - and that's fine. - That's all we really need. - So we do need holes on both sides of this. - So let's just copy this Kloner and let's rotate this 1 90 degrees. - So let her art for the rotate tool, - and we're gonna hold down shift to lock it in place every nine degrees, - and so that that allows us to create the holes on the other side. - So that's perfect. - Let's start naming some of these things So let's call this leg. - We call this C Y el for cylinders. - I will call the C Y all 0.1. - My whole point now we could get another bull and start dropping that into start dropping - each of these into another bull. - But I want to also introduce you to the connect object so the bull tool really only - recognizes two objects, - the first in the second that are thrown in there. - If I add the third object into the bull, - nothing happens because after this first cylinder, - it ignores whatever comes after. - So if we go into the modeling menu and we get a connect object, - it's just give ourselves some room. - Here we can take cylinder one in cylinder to drop those into the connect object and the - connect object we now use as be inside of our bull. - Go to our connect object and turn off welding, - and now you'll see that it's treating the second cylinder or the two cylinders, - the two cloners as one. - So the leg is subtracting the connect object, - and that allows us to create these two cuts without having to add another bull and starting - toe litter. - Our object or list of objects in the scene with too many things. - So now that we've got our leg done, - let's just call this leg and let's get another Kloner and we're going to use this cloner to - make our four legs select the cloner created grid array, - and that's way too many legs. - So let's drop the Y count to one and the X 22 and Z two to. - So now we've got four legs for our table. - Let's get a cube and let's change this to Oh, - I don't know. - Let's Ah, - let's do Let's do 40 centimeters and X. - Let's do 60 in Z and why we'll just do, - too, - because we just need a tabletop. - Basically, - I'm gonna turn on filet to round it out a little, - and I'm gonna change it to, - let's say point to and these subdivisions to three. - So now if we zoom in, - we see that we've given it some rounded edges. - If we switch to a top view, - we can select the cloner and using these orange dots, - we can bring the distribution of these legs in to match the table. - Now you'll notice that all the cloners air kind of facing the same direction which we don't - want. - We want these two kind of hug around the table. - So we need to do is take this cloner hit the letter C to make it creditable. - And now we've got one leg. - Each object is now edit herbal, - and we can rotate thes independently from one another. - So let's just rotate these so that they match the model or the tabletop. - I'm gonna take the last one and wrote t o make sure you only rotated in the one access that - you're meant to rotate it in and we can now position he's a little better. - Let's do two at a time. - So let's do zero and two together and one and three together. - Now we go to our perspective. - You we can take the tabletop and move it up. - And rather than moving the legs around, - I could now just make the tabletop a little smaller so that it fits inside of the legs. - You can use these orange squares again to resize. - It may have to adjust some of these independently. - Okay, - so there is our table. - Zoom out a little and we could see that maybe a little too tall to be a side table so we - could actually hold down, - select the cloner, - hit the letter t and scale them down if we wanted to. - Um and that's fine. - We can do that. - Then take our cue. - But the letter e move tool and moving into position so that puts our table in position and - our leg. - This one looks like it could be moved a little bit. - I want to just make sure that it's not rotated in a weird angle, - So let's just use the arrow tool moved to put it in position. - And so there's our table, - so command are when there's our table. - So a couple other things that we can add to this is we can hold down command to make a copy - of the Cube and kind of give it a lower shelf that'll make it look a little bit better. - Another thing that we could do is add some screws around this. - So if we take a oil tank, - let's zoom out a bit and let's make this much, - much smaller. - Let's change the radius 2.5 the height to just one, - and the height segments can be one as well. - Zoom in to the Hitler oh, - lips cap height. - Undo that to the letter Oda Zoom into it. - Changes cap height. - 2.1. - So now you've got our starting point for a screw, - but we need something to cut into it to make it look like a screw. - So let's grab a cube. - Let's make this much, - much smaller. - Let's dio 0.5 point 5.5. - And if we move it up, - see that we've got a cube now. - Gonna extend it out and make it narrower. - Push it down a little bit more. - And if we get a bull object and drop the Cube and the oil tank into it, - let's change the order of these. - So, - like the oil tank moving up above the Cube and now you've got it's really very basic screw - . - So let's call this screw that Zuma. - And now we can take this screw and position it on the outside. - It's rotated 90 degrees. - It's close that up. - Close that up. - It's called these shelves. - That's just group them. - And now with this screw, - we use the move tool. - You can put it in position, - so wherever this intersects we want to put a screw. - Go out, - go into the front view. - Is your man no, - A little. - My computer just went a little crazy on me. - So it zoom out. - Let's make a copy of this and move it up to the top. - Take both of those screws. - Hold down Command to copy them. - Move to the other side. - They're facing the wrong way, - So get the rotate tool, - Rotate them 180 degrees. - And now, - if we select all four those and go to the front are the right side. - We can use the move tool, - hold down, - command, - click and drag. - And now we've copied those to the other leg. - And if we zoom out on the perspective, - you we now have a nice little detail on our table with screws. - Everything that needs to be there to create it, - make it look a little more realistic and have a little bit of detail. - So I'm gonna leave it off here. - I'm gonna let you color it, - however you see fit. - There's a couple of things that we didn't cover in this video. - Um, - but you can easily do those with some of the tools that we've already covered. - You can create this shape support here. - And you can also add this panel here, - uh, - for this X shape just used to cylinders make him really thin. - And for this panel, - it's really just a cube, - uh, - flattened out and made to fit that side. - Um, - so I challenge you to go ahead and recreate those two parts on your own. - Then go ahead and upload your renders. - You can either save the file or you can just do a quick render and you can do a screenshot - of this command shift are if you're on a Mac or a PC. - I'm sorry, - I'm not exactly sure how to do that, - But in one of the next videos that's coming up shortly, - we'll be covering the render settings and how to render this out and save it. - So I recommend that you play around with this, - add some colors to it, - add some textures to this and I'll see you guys in the next video by 6. Text basics: - Hello, - everyone. - Welcome back to video number six in this introduction to modeling with Cinema four D. - Siri's I am Carlo Diego, - your host, - and in this video we're going to cover one of my favorite things inside of cinema. - And that's working with text. - I was introduced to Cinema four D after many years of using Maya being Lee because of the - workflow and how easy it was to integrate your cinema. - Four D files and projects with after effects were Photoshopped, - and working with text is really one of my favorite things to do inside a cinema. - It's one of the things that helped me kind of learn to play around with all the tools and - settings. - So two different ways of doing Texans that cinema both very fluid and very easy to to wrap - your head around one of them being mo text. - If you downloaded a demo from the maximum website, - then chances are you have the mo text module. - However, - if you're a creative cloud subscriber, - you don't have moe text. - But what you do have is the spine menu, - and inside of that there is a text object so really easily we can bring in text, - and we have most of the settings that one would expect inside a text. - You have your font selection. - You have bowled regular italics. - The type of text that you have you can align left, - middle right. - You can change the height of the texture of the size. - Essentially, - you can change the horizontal spacing or tracking of the text itself. - You can. - If you have more than one line of text, - you can change the vertical spacing of said text very similar to the line height. - What you don't have and it's unfortunate is turning were unable to at this point. - Kern Text inside of Cinema four D Right now we're in cinema four d version are 14 ar 15 - might have Koerting tools. - I'm not 100% sure. - I could've sworn that. - I read that, - but I'm not 100% on that. - What? - There are some third party plug ins that you can use. - The one that comes to mind is called current A meter and coordinator allows you to have up - to 26 letters inside of the Qurnah mater object, - which you can current individually. - So we're not really gonna go into third party plug ins. - But what we are going to do is just use the text tool as it is to the best of our ability. - Now, - another option you have if you absolutely have to current your text is to create your text - inside of Illustrator and then save and export that or saving import that into cinema four - D if you I don't remember exactly how to do so just go back a couple of videos and go - through that process again of saving text or saving illustrator files for cinema four D. - So for this example, - we're gonna go ahead and type in a word here. - Let's just do skill share. - And I'm gonna go ahead and change my funk to a free font, - actually, - uh, - below and I'm gonna take my text object and I'm gonna throw it inside oven. - Extrude Nerb extrude nerve is going to automatically create three d geometry out of our - text. - Um, - this is very similar to what we saw with the sweep Nerb in that it's taking an outline of - something and creating three d geometry with it, - but it's just doing it in one in one plane. - So if we go into the objects settings of the extreme nerves, - we can see that we can change the depth of the text. - And I'm just gonna go ahead with a 200 and we could if we wanted to change the position in - X or Y. - But we're not going to do that for this example. - We're just gonna leave it at 200. - And what I do want to do is that we've talked about before is that if you do a quick render - on this, - we've got very sharp edges here and we don't want those sharp edges pretty much ever in a - three d object. - So we're gonna turn on filet cap. - We're gonna change the steps to three. - We're gonna change the radius to two, - and we'll do the same for the back, - and we'll leave it at that. - If we do a quick render now, - you'll see that the edges catch light a little bit better than it did before. - Now there's different types of filet with when it comes to using the extrude object or even - mo text on. - You can change it from the near to convex or concave circle. - One step two step engraved. - We're actually going to do 1/2 circle because I kind of like the way that looks with this - fun and what we can start doing. - And what'll become very simple to to control and see with text with that half circle of - filet there is that Let's say we wanted to apply to different colors to this text, - and we wanted the outline to be, - Let's say, - white. - Let's just make this all the way. - Wait only the speculator on Let's open up the 2nd 1 and let's get some kind of maybe a blue - kind of like that other teal. - There we go. - So let's apply both of these to the text now. - Border matters. - So the last one that you apply is the one that you see if we do a quick render all blue. - If we switch the order and move white over to the other side, - we see white. - Let's say we wanted this outline to be white and the rest of it to be blue. - So in the white tag texture, - we have selection. - And if we go ahead and just type are one return or tab, - excuse me, - then you'll see that it's now only being applied to that rim. - We could do the same thing at another white and do the same for the back. - But since we can't see it, - I'm not going to stress that too much. - So I'm gonna leave it just like this because now I have my blue text with white outline, - which I think looks pretty cool. - Now, - one of the other things that you could do is change it to C one. - And what that would do is apply it to cap number one, - which is the one facing the camera. - So now we have a white cap with the rest of the body being blue. - But I kind of like the white highlight. - So we're gonna leave it like that Now I'm gonna introduce a plane into the scene, - and I'm gonna change the orientation to plus Z, - and I'm gonna change the with to 2000 and the height to 1000. - So this is just gonna stare was my background. - I'm gonna go ahead and change views and just push it back. - So it's it's behind the scene. - I'm gonna go ahead and add a couple of lights to my scene, - which we haven't really done before. - But let's describe. - Bring a light and we can bring it up above overhead. - Do a quick render. - Now we're starting to see some different lighting that we didn't have before. - I want to add a texture to this background because right now it just feels a little too - Planes. - It's double click in the material editor and open up a new a new color Turn off speculum. - I'm gonna go into color and I'm gonna open up texture and at a radiant. - If you click on the Grady in and you go into the type, - you can go down to two d circular and that gives you a circular radiant right. - Clicking on this Grady in will allow us to invert the knots. - And now we have a bid yet kind of effect. - Wow, - it's double click on that. - And let's add a color to our background looking reddish orange. - Uh, - maybe a blue like this grayish blue. - Here, - let's do that and close it instead of black. - I'm gonna take my loop here, - select that and just darken it. - So now it's not so harsh Close that you know that texture onto the background and now quick - render And there we go. - So that's great. - Now let's add a couple of lights to the scene. - We've got the one already want to drop the intensity to 75 I want to add shadows. - Soft shadows to be exact and very few lights in the real world are 100% white. - So I want to add a little bit of texture, - a little bit of color to these lights. - So let's go ahead and just make one That's a light blue and I'm gonna zoom out just a - little bit so I could see the position of these lights. - Put one over here. - I'm gonna hold down command, - click and drag to make a copy of that. - And I'm gonna make this one just a little bit yellowish. - So OK, - now I've got my lights. - I got my skill share and I've got my background Zoom out just so that it's within these - bounds before we go further. - Let's go into our render settings really quick. - So OK, - for go down the list output allows us to change the width and height of the file itself. - So I want to do 12 80 by 7 20 and everything else can pretty much stay the way it is. - I can lock it. - You can even go into the custom settings and fine presets for very popular sizes. - We're going to save and tell cinema four D where it is we want it to save. - So let's just call it s keep escape late. - Save that you can choose to have an Alfa Channel if you'd like. - If you were going to composite this inside of aftereffects Photoshopped you'd probably want - to use in Alfa Channel and then create your background and everything else your environment - inside of cinema four D. - Excuse me inside a photo shop or after effects, - we're going to skip multi pass. - We're not gonna be using multi passes but anti alias ing. - We want to change it from geometry to best, - and this is going to create a sharper image in the end. - So minimum level. - I'm gonna change that to two by two maximum level. - You're gonna leave it at four by four. - But if you wanted a much sharper image, - eight by 8 16 by 16 would be the way to go. - Just keep in mind that the higher up you go with these numbers with longer your render is - going to take. - And for the purpose of this video, - I don't want to sit here and watch it render for so long inside of the options. - Once you start introducing lights of your own, - you want to make sure to go in here and turn off default light. - Almost almost any time that you add lights, - you'll want to change or turn off default light. - So let's go ahead and do that. - Another thing that we want to add is going to effect, - and we want to add ambient occlusion. - Inclusion is a little vague if you've never worked in three D, - or if you're not really familiar with lighting and physics than you've probably never - really heard the term. - But what ambient occlusion does is that it attempts to approximate the way that light is - radiated in real life. - So, - basically, - if something is not reflective, - even though it's not reflective, - it's still radiates light a certain way. - So ambient occlusion allows you to kind of cheat that inside of three space. - I'm gonna go ahead and change this maximum ray leg 2150 change the accuracy to 75% now. - Changing those two will make my render take a little longer. - But what I'll do is I'll just pause the video while that renders and then come back so you - could see the effects. - Gonna go ahead and close that, - and I'm gonna go ahead and add a couple of more planes. - Now, - these planes are going to serve as my light boxes. - My fake light boxes, - if you will. - I'm gonna create one more texture here. - We're gonna turn off color. - Turn off speculum Goto Lew minutes and turn on Lou Minutes, - I'm gonna change Luminant settings to 2 50 I'm gonna apply this to this new plane. - Now, - this is kind of like a bounce card or a a soft box, - if you will. - Now, - you could spend a lot of time building these. - What I would recommend is checking out some light kits that you could purchase on the - Internet. - Um, - you can also just make these yourself. - But for starters, - this is a really good way of of setting up some objects that could be reflected off your - objects. - So let's just make a couple of these cards rotate this one, - and I'm just going to kind of put it in position. - I want this one to kind of fill the bottom here a little bit better. - Okay, - so let's zoom back into our text now. - We don't want these cards to be seen by the cameras, - so we can either move them out of the way or we can add a compositing tags so that they - don't show up. - They're not seen by the camera, - actually. - So now the camera doesn't see you. - We do a quick render. - See that? - It's really dark in here. - Let's go ahead and stop that rendered. - Let's go to our two lights. - Let's bump these back up a little bit to 85. - Brighten it up a little bit more. - I want to add one more light, - and this is just gonna be an area light. - This is just gonna be like a filled if you will. - I'm gonna increase the size of it. - Bring it all the way out. - Maybe up just rotated a bit. - You could set things up pretty much any way you'd like. - Um, - I am by no means an expert game studio lighting. - So if you taking photography? - If you're taking a studio class, - you could probably do much better job than I am in this. - Um but I want to go into my blue and my white color the colors for my text, - and I want to turn on reflection. - I also want to go into reflection and I want to add some for now. - And I want to drop the brightness in the mix. - Strength do the same to the blue at reflection at for now, - drop those as well. - And now I'm gonna pauses video, - do a quick grender and come right back. - And here is our render from the set up to be just created. - Now the shadow is maybe a bit exaggerated here, - but it's nice to see it. - And if you look really closely, - you could start seeing where some of the bounce cards are here. - You can kind of see the white balance card here. - You can kind of see it, - and they really help. - When it comes to having reflective objects in the scene. - Try to really, - like, - recreate a an environment. - So there's more to it than just a basic reflection being turned on it off um So I'm going - to leave this video here, - and I want you guys to really experiment with this technique using text using lights. - You can also add a camera if you want. - Um, - And this way, - when you zoom into the text, - you can come appear to the camera, - Turn this on, - and then if you turn it off, - you go right back to where you were. - So actually, - let's let's turn it on. - Let's record this position here. - Gonna change the focal length, - Actually, - decrease it, - zoom in a bit and I'm gonna make my plane my background plane just a little taller. - And I'm gonna Paul's. - So even though we just kind of introduced a camera, - just threw it in there to kind of lock it in place. - I just wanted to do a really quick introduction of the camera. - We're gonna explore using the camera a little bit more in the next video. - When we start setting up a scene, - we're gonna take the table in some of the other objects that we've created. - We're going to set up the camera, - and I'm gonna show you how to recreate depth of field shallow depth of field inside of - cinema four D for a really nice render where only portions of it are in focus and the rest - is somewhat blurred. - So I'm gonna leave you here. - I'm gonna encourage that your experiment with this technique and I'll see you on the next - video. - Thanks. - Bye. 7. Modeling a chair: - one. - Welcome back to introduction to Modeling with Cinema four D. - I am your host, - Carlo Diego, - and what you see on the screen here is going to be our final render, - or at least what we're aiming for. - We've already created the table, - a small wooden box and the vase and everything else that you see on the screen, - except for maybe the pillows will be just an extension or building on what we've already - learned. - I'm going to use techniques that we've already covered to create all of the things that you - see on the screen in order to get the texture for the floor, - want you guys to head on over to cg textures dot com and download this texture right here - for the floor. - If you want the actual path for that, - you can go to wood planks floors, - and you should be able to find that, - and you can find the different categories over here in the Left column. - I just went to wood planks floors, - and I found this nice texture right here on the first page of of that of that threat. - So go ahead and log in. - The only other thing that I have on the screen, - that is maybe somewhat new, - but not really is. - I went ahead and an illustrator created this baseboard profile to, - uh, - just add a little bit of detail to the scene. - And I'll include this project files that you don't have to actually create this, - But if you do another Google search for moldings, - actually, - I did the Google search for You'll come up with these results and if you scroll down, - there's this image right here that has some pretty good ones. - You go ahead and open that up. - You'll see these different baseboards and baseboards are the ones that you see along the - bottom of walls and some in some houses or some apartments. - Um, - if you're interested in learning more about these, - I really suggest that you do. - They're very nice architectural details that you can add to your renders. - But for this case, - I'm just gonna go ahead and add the project filed to the skill share class so you don't - have to actually recreate that. - And other than that, - I'm just gonna recreate this scene along with you guys were gonna copy and paste the things - that we've already built so that we don't do those again. - And I'm just gonna go ahead and make a new file now to get started with the chair. - So go ahead and create a new cube. - I'm gonna do filet. - I want to turn that down a little bit. - I'm gonna just make a copy of that. - Now, - these these numbers will change a little bit as we go along. - Uh, - but for the most part, - you can just copy some of the numbers that you see on my screen. - I'm just kind of winging it at this point to recreate it. - So just go ahead and create two cubes. - Make sure you turn on fillet for the rounding and position them in a way that you would - have a back to the couch on. - A place to sit somewhere around there should be fined and bring a bull into the scene and - dropped both of these into the bull. - Make sure you don't select the bull so you can drag those in there and remember that order - matters. - So that would create our basic chair. - Um, - it is a little too deep for a chair, - so I'm gonna go ahead and just narrow it down a little bit. - You see that because it's in the bullets automatically. - Just adjusting itself can also adjust the height a little bit so that it's not so deep and - we can bring up the we can bring up and move forward the cube that is subtracting from the - original Cube. - So once we do that, - we want to go into the bull settings and make sure that we have hide new edges turned on. - And I'll show you why. - If you turn on garage shading lines from the display from display menu, - then you'll see that we have all these extra lines and we need to bevel this edge so that - it's not so sharp. - If we go to hide my edges, - it'll hide those edges. - And once we do the beveling of this edge, - it won't affect us so badly. - So let's go ahead and make this edible go for you. - L to get a loop selection of select edge mode. - Before we do that, - let's make sure that we go up to so like Children and we want to connect objects and delete - . - And I got to that by just right clicking all over the bull. - So now that we've done that, - we can select our edges on. - It won't let us get the edge. - So we'll just have to make a couple of selections. - It's do this one and that one. - I forgot to hold down shift. - There we go. - Now, - if you search over to the live selection tool on hold down command, - you can erase part of the selection that you don't need. - We really just want this outline right here. - So let's go ahead and hit the letters M s and we can start beveling. - And we forgot to do one thing. - We forgot to optimize. - You see how it's separating right now from the rest of it. - It's creating this gap, - so we don't want to do that. - Let's undo that. - Let's go to point mode, - live selection, - select some points and then do command A to select all of them. - Then you can right click and go all the way down to the bottom here and you'll see optimize - , - and now everything's connected. - So if we go back to our selection just by clicking on the edge mode to M s, - then we can add three segments. - Change this to Convex, - and we want to just start beveling. - This edge here about 3.5 should be enough. - You see that? - Now, - we don't get that separation that we were getting before, - so that's exactly what we want. - It's perfect. - Now I'm gonna make a new document really quick, - and I'm gonna bring another Cuban to the scene. - I'm gonna make this one 75 300 by 300. - And in these segments, - I'm going to do 30 my 30. - And if I go back to display and turn on girl shading with lines, - you'll see that I've got this cube with a bunch of little squares in the middle, - so that's fine. - I'm gonna hit the letter C to make it creditable. - That airs UL for a loop selection. - I've already got Garrard shading on its want to select the faces all along the sides and I - want to right click on the Cube, - go down to simulation and select cloth. - We haven't used this before. - This is the one new thing that we're gonna be learning today. - So you select oclock and understand the dresser tab. - If you go down to seeing Polly's once you have all these selected and I've selected all the - ones all the way around. - You're gonna hit the button for set, - and it's gonna add these excess to each one of the policies. - And if you hit the button dress, - somatic bone, - a pillow, - awesome. - And this pillow will be enough for us to work with in the scene. - So once you do command are you can do a quick render and see it could also put over it - inside of a hyper terms if you'd like to get more definition, - Um, - I think I think we benefit from that. - So let's go ahead and do that. - I'm gonna delete this cloth tag and I'm gonna make this edible. - I'm also going to select Children. - Actually, - I don't need to. - It's all done so wonderful. - Now this one does get really dense in terms of the polygons. - But we don't have any animation show. - We should be fine. - Let's go ahead and just copy this. - So let's go to the model mood. - Copy that, - and I can now go back to my chair and I can pasted it now. - Of course, - it's gonna be too big because we're working with a different scale so we can go to the - model mode and just scale it down. - And this is going to be for the seat. - So we just want to basically fit it into the actual seat of the chair so you can go ahead - and just adjust it as you see fit. - If you want to make a bigger couch, - by all means, - feel free to do so. - Um, - but now we've got ourselves a more comfortable chair, - so that will take care of the actual seat. - But we need a copy of this to create a sort of bolster so that we have something to lean on - . - So let's do that really quick. - Will create another pillow. - Just command click and drag to make a copy. - And I'm going to scale this one down, - mostly in Why, - when its height, - brother. - So that I in a chair or something to eat? - Okay, - so let's make that a little bigger. - And now what we need is a cone and in the top radius. - Let's go ahead and bring that up. - You see that I start to make a sort of trap is oId We're gonna go to the height segments - change that toe. - One rotation segments Change that four, - and that's going to give us a sort of a cube trap is oId Cube instead of a cone and what we - could do now and start changing the height. - Gonna just do a height of 20 centimeters, - a bottom radius of 10 and we should be able to operate. - This is probably too big. - It's doing eight and let's get our move tool, - Move it down. - Simply happened here. - It's upside down now. - Bottom radius should be 10. - Here we go. - So now we've got our leg. - Let's go ahead and bring in a cloner and drop that into the cloner. - If we go into the cloner, - we can change that to Grid. - We want to buy one by two because we essentially want only four legs and let's go to the - Transform tab, - and I believe it's this one right here Yet let's change this to 45 so that they're facing - forward, - and if we go to the top view, - then we can put them right. - They need to be. - So let's switch back what's moving down a bit and there it is. - There's our chair so in the next video. - We're going to texture this and we're going to create the frame. - All right, - Feel free to re watch the video pause and watch it over and over again until you get it. - All right, - I'll see you guys in the next video. - So you soon. - Bye bye. 8. Adding textures and setting up the shot: - everyone again. - Welcome back. - My name is Carla Diego. - This is now the continuation of our seventh video. - We're going to be texting this chair now, - so let's go ahead and just jump straight into it. - Go down to your material manager and double click to create a new material, - and we're going to turn off speculator and we're gonna turn on bump and under bump. - We're going to go to texture noise. - That's way too much. - It's click on noise and let's go to displaced turbulence under noise go displaced - turbulence and under global scale, - we're gonna change that to stew. - About five might actually come back and change that, - uh, - one last thing under strength. - Let's change that to 24 25. - Something like that. - Now the colors where we're going to actually add our color. - We're gonna do it with a four now, - so go into the texture tab, - go to the drop down and get a friend out. - Once you've got that, - click on it to open it. - And if you double click on each one of these little not so you can start selecting some - colors again. - I turned on system colors under units for the preferences. - So feel free to do that. - And that's what's gonna give it our colors. - So the point. - Add that to the chair and we're gonna add it to the pillows. - Still quick render. - And that's way off. - That really quick going to our bump. - Think I might have actually done it gone wrong direction. - Here, - try five. - Well, - going to your Sorry about that. - Go into your for no in the color Changed the mixed mode to multiply mixed Drink to 60 and - you should get a slightly better result of what you're saying before. - Actually, - it's quite a bit better now It looks a little looks a little bit more felt e now. - Yeah, - yeah, - I'm okay with that. - All right, - Cool. - So we're actually going to texture the legs with the with the texture from the wooden box - are kind of lost my train of thought there for a sec. - Eso Let's go into our textures. - Exactly. - That's what I have both of them lecturing the box yet. - Let's get the box and no bombs. - It's copy those. - We can close this up. - I need to save any changes. - Close this and not have any changes. - I can pace him in here, - and they're gonna be way too big. - But we're going to scale those down considerably. - And I'm gonna take this, - Wouldn't tag. - And I'm going to apply it to the cloner That is the legs of the chair that I'm gonna take - these two and called pillows. - And I'm also going to change this to chair. - Could take chair, - pillow and legs. - Just call that chair now. - My legs should be textured, - and I could go ahead and bring in my one by one aims table, - which I've already added the exes and the panel inside. - So let's copy that. - Close it, - I need to say, - pasted in place. - And this was gonna be smaller, - but no worries. - We can first rotated 90 degrees holding down shift to lock it in place in increments of 10 - . - And then we'll hit the letter t scale to scale that up. - Scale it to taste. - But for the most part, - it should be just about the height of a side table. - Your average side table. - So we've got a side view we can position and a little bit better. - Make sure there are sitting on the same plane, - which is the next thing we'll do is we're going to add a pulling. - This plan should be also below are chair and below our table. - So I'm looking at this side of you here. - Positioning it right about there should be fine. - And we need to go way bigger with this because this needs to pretty much cover our whole - our whole scene here. - So let's get the box and the vase, - and that's position does. - We did not texture the table yet, - so let's go ahead and create a couple of textures for that. - This is gonna be the handle on the side. - So I just want, - like, - a blue here, - and that's pretty good, - but I want to take this bump. - Sorry, - the height was speculate down to 10%. - So now that that's done, - I can apply that to this needs to be the side panel here. - Just sit this way. - Here we go. - Just added to that little cube right there gonna make a kind of metal color. - It's also been down that bump a bit and let's go for, - like, - a dark gray that's going to be used on our small X large eggs, - screws and the legs shelves. - We need to make these two cubes edible. - Letter C. - And then once you've done that, - go into the polygon mode, - select the two tops of the table. - We're gonna go to select and set selection. - And now that we have those two orange triangles there, - we've set that selection. - So it's double click to make another material. - We're gonna make this a glossy black, - so we're gonna turn on reflection and we're gonna turn that way down. - We're also going to goto texture and add a friend. - Now that we're gonna turn that down as well to about 25 that should be fine. - And we're going to add this glossy to both of them. - So go ahead and add it to the cube, - and then you can command, - click and drag to copy it. - If you click on the texture tag here, - you'll see that there's a selection field. - Go ahead and drag that first triangle into it and then do the same for the 2nd 1 So now - only the top of those is textured with the glossy black, - which is pretty much the way that these tables look in real life. - Now we're gonna go ahead and take this wouldn't texture and add it to the cubes as well. - But we want to make sure that it comes before the Orange Triangle. - Click and drag to make another copy. - And that's just so that it has a little bit of wood on the side here that will see once we - start to render. - Another thing that I want to do is change the position of this box. - I want the box to be forward, - Um, - because it makes a little bit more sense of visually, - it's Go ahead, - move this vase back of it and there we go. - Make sure you're in model mode to get your axes and go. - OK, - so that's what's next. - What's next? - What's next? - Let's get a Cuban. - The scene on this cube is going to be our back wall. - So doesn't really matter how thick it is in ze as long as it's resting on top of our floor - , - and we can then move it back behind the rest of our objects. - So feel free to just position that accordingly we're still missing or moulding. - We're gonna add that pretty soon, - Um, - just go wider here. - Great. - Okay, - so let's make a couple of more tags here. - Let's make a couple of more materials. - Rather. - So we're gonna go ahead and make our floor. - I'm gonna turn on reflection. - I'm gonna go into the color mode and color channel, - and I'm gonna load an image, - and I'm going to load. - Sorry. - I'm going to load wood planks. - Floors. - I don't want to make a copy of that, - but that's just my preference. - Feel free to do it. - Otherwise, - uh, - change the brightness of this glow here. - This reflection here also gonna turn on for now. - Wade, - I think we need to go really, - really low with this. - Otherwise, - it's gonna look like it was just waxed. - So that's fine. - Go ahead and add that to the floor. - Now we need to go into our texture tag for the plane and under tiles. - I'm gonna change this to 10 so that it looks so that the planks aren't so wide, - so that's fine. - Now we need a color for a back wall, - so let's go ahead and make a new texture. - I'm gonna actually leave. - Speculate on, - but turn it down to about 5%. - I'm gonna go into the color and I want a reddish deep red kind of color, - and I'm gonna turn on a bump for it. - Got a noise, - like on it. - And I'm gonna use Nahki, - and I'm gonna change that percent global scale to 10. - I'm gonna go up one level, - and I'm gonna change the strength to about 3%. - 5%. - That should be fine. - Close that. - I can apply that now to the wall. - If I do, - A quick render might be a little bit much. - Let's go back into that. - Let's change this to maybe just 2% changes octaves. - So now another quick render looks a little bit more natural. - All right, - so as long as you've got all these objects in your seen so far in the next video, - we'll add the molding will add the picture frame, - and we'll start setting up our render for a final scene. - All right, - I'll see you guys in the next video by 9. Lights, camera, render!: - one. - Welcome back to our final video of this lesson, - and we're going to now add the molding at the picture frame and set up a camera for this - final render seen. - So let's go ahead and just jump right in. - Let's go to our front view and let's go up to our splitting tool, - a linear spine and let's zoom out a bit and we're gonna put one point along the edge of our - wall and then just gonna hold down shift just in case. - But I don't think I need to just place another one right there. - So we got one straight line. - Now I'm gonna do command shift. - Oh, - that's gonna bring up our merged options. - I'm gonna bring in the baseboard. - You see that? - I have a molding that I tried before. - Didn't really work. - It's more of a casing for a door or window, - so I'm gonna hit, - okay? - And that's gonna bring it in all the way down here. - I know from experience that it's too big, - so you can go ahead and scale it down about 2025%. - So we're just gonna scrub down to about 24. - 22 then we're gonna grab these two. - I'm going toe our perspective mode, - gonna hold down option, - and I'm going to drop those into a sweep. - Nerb and I didn't really work so well. - So let's put that in there blind first, - then up. - Sorry, - baseboard first and then the supply, - and you see that it's facing the wrong way. - So let's go ahead and just click on. - The sweeteners are for rotation, - and we're gonna rotate it using the green band 180 degrees, - negative 180 degrees and move it back against the wall. - Make sure that it's resting on the floor. - So we want to zoom in a little bit, - just so we can better position this sure that it's not going to do the wall too much. - Maybe just ever so slightly. - But not too much because we woke start seeing shadows there. - So it's down a bit. - That should be about fine. - Let's go and gonna command click to make a copy of our red texture and a little double - click on that. - Open up our material editor. - I'm gonna go into the color channel. - I'm just gonna change it to off White kind of color. - That's fine. - We're gonna throw that on to the baseboard. - And now the only thing we've got to do is make our picture frame. - I left the picture frame for last because it's a little easier to get this scale. - Right. - Um Z, - I'm gonna go ahead and just taken five. - And I should give us a flatter you flatter in to excuse. - We're gonna make it a little bigger. - You get the letter c to make creditable, - and I'm gonna grab the polygon tool. - Select that face. - Hit the letter I for extreme inner extreme in somewhere about maybe 10 centimeters. - Should be fine. - And then we're gonna have let her deep to extrude in, - and we're gonna inward. - We're gonna go up to select and hits set selection. - So now this, - uh, - polygon is its own selection, - and it could be textured differently. - Gonna go into the material editor going to color, - and I'm going to load a texture. - I used a image from a photography show that I did several years back. - Feel free to use any image you'd like. - Um, - it really doesn't matter which one you use. - So we're just going to find or try to find that image. - Uh, - see you later. - This Use that cover pic? - No, - I don't want to save close that. - Add it to the cube. - You see that? - It's text during the frame as well. - We don't want that. - So click on the texture tag and will add the selection that we set before I'm gonna take - the metal from the table. - And I'm gonna You know it before the texture tag before the selection. - And now it's on Lee text during the frame. - So that sets that up pretty well. - Now we can kind of start zooming in. - You can go ahead and add a couple of lights to the scene. - I'm gonna make this slight, - slightly yellow, - two yellow, - but still little yellow. - And I'm gonna move this one to the top right of the scene. - So this will almost be like natural sunlight coming in through a window. - And I'm gonna command, - click and drag to make a copy of that. - Well, - I'm gonna move this one back a bit, - and I'm gonna change this one to be a little bit more blue. - Maybe too much. - We're gonna really subtle with these because Otherwise, - you will start to see these colors reflecting, - especially on the white baseboard. - Gonna highlight both of these and change the intensity to 70%. - So now it's a little less bright than what it was before. - It's pretty good right here setting up the scene. - It's got a camera in here, - and if we go into the camera under details, - you can turn on depth of field for the front and the rear of the camera itself. - And if you go into the top mode, - you can see where the controls are. - It's a lot easier to control it this way. - The selection tool. - And so this right here this darker green is what's controlling the start of the front depth - of field. - And so from here to here, - it's going to be most blurred up here. - And then this is gonna be in focus. - And then from here to the rear depth of field control is going to be another ingredient. - So from focus to out of focus all the way to the back, - So these are the controls for the depth of field. - I'm gonna go out into the drag on that and make sure that this one doesn't go past the - camera. - Our cameras down here, - the origin bringing these in a bit. - I don't want to go too crazy with the depth of field. - I really wanted to introduce it to give you guys an opportunity to play around with it. - I think that it's an awesome way of creating very interesting images inside of a three d - program. - But, - you know, - because this scene is kind of head on and we don't really have a lot of depth in a scene - itself. - I don't want to go too crazy with it. - I might end up actually turning it off in the version that I showed you at the beginning of - this last unit. - I actually had it turned off. - But this is what you would have to do in order to set that up. - So we're gonna go into the output. - We're gonna change this to 12. - 80 by 7 20 and then we're gonna go into save, - and I'm going to set a place to save it. - I'm just going to save it into my skill. - Shareholder, - Give it a name of final scene hunger hit, - save. - And yes, - I want tiff I don't need an Alfa Channel. - You can change the ate the depth to 32 if you'd like more definition. - But I'm not gonna do that just because I want this to render at a fairly decent speed. - So I'm gonna change from best to minimum Level two by 24 by four options. - I'm gonna turn off my default light, - and I'm gonna go into effect, - turn on ambient occlusion. - I'm gonna leave it at its default even though I usually set my maximum railing to 1 50 my - accuracy up to 75. - Um, - that extra level of accuracy probably won't show in the video, - so I'm not going to waste too much time rendering that out and then we're going to turn on - global elimination and global elimination just gives you a more realistic render. - In the end, - I'm also going to go into effect and add depth of field that the field is what actually - creates that depth of field. - Um, - some people like to go into lens and, - uh, - change it. - I'm actually going to change it to a hexagon because I feel like that's more realistic lens - shape. - So I'm gonna close that. - And now excuse me. - Now we're going to pause the video, - gonna do a quick render and then come back to see where we are. - OK? - I'll see you guys in just a bit back. - This is our completed render. - One thing that I forgot to do before I paused the video to do the render was I forgot to - turn on Shadow's shadow mapping too soft inside a bolt of our lights, - which is required for for us to actually get shadows and seen. - So I went ahead and turn those back on. - Did another render that. - I realized that I forgot to push this frame up against the wall, - so just make sure that your frame is up against the wall. - Otherwise it just kind of floating in mid air. - And as you can see, - we didn't get a lot of depth of field. - And that's because I had my, - uh, - field for actual in focus objects set to be pretty much where the couches on, - then ingredient for out of focus for the rear just kind of goes from this point beyond the - wall. - So this isn't the best example for the depth of field. - I'm gonna go ahead and pause it. - Put a ball in the scene and move the camera down below by the ball and have the ball B and - focus and then have the rest out of focus. - And I'll show you how that camera set up looks once I come back. - So I'll be back shortly again. - And as you can see, - this example does a much better job of illustrating the depth of field inside of three D - program cinema four D in particular. - We basically needed something that was closer to the foreground in order to have that focus - and then allow the rest to be out of focus. - So I just added a second camera and a spear. - I used the same glass texture from our vase on this fear. - And, - uh, - let me just go to the top view to show you what the camera set up looks like. - So I positioned the second camera, - my position this three year first and then a position. - The camera tohave the sphere in view. - This is the starting point of the front of the field, - and then my in focus plane is just behind this fear. - And then from this point to the rear depth of field plane. - It starts to become out of focus. - So by the time that you see the back here, - everything is out of focus. - So this doesn't much better job illustrating that, - um, - you know, - you don't need to have depth of field turned down, - of course, - but I wanted to make sure that that was at least something we touched upon. - So go ahead and play around these techniques. - I hope that you've learned something from this. - I hope that there's something that your take away from it. - Um, - excuse the bad organization over here. - I shouldn't name this floor. - I should've named this back wall. - But I really wanted to make sure that we covered a couple of things before we signed off on - this project. - So go ahead and play around with these techniques. - Put up your render so that we can all take a look at them and learn from each other. - And I really hope to see you guys again soon. - And another video, - another Siri's. - Hopefully we'll do something a little bit more advanced, - maybe a little bit more elaborate, - but I think this is a good starting point, - and I hope to see you guys in the video soon. - Um, - I'll see you guys soon, - but by 10. Thank you's and goodbye: - Hello, - everyone. - And welcome back to our out TRO video. - This will be the last video in this series of introduction to modeling with Cinema four D. - We've covered quite a bit, - and I hope that you guys have learned and enjoyed the process of tinkering with a three D - program. - If this was your first time, - by all means, - feel free to re watch the videos over and over again. - If you have any questions, - send me an email. - Follow me on Twitter, - send you send me a private message on Twitter or even find me on Facebook. - My Twitter handle is at Carlo Diego that C a R O D I E Geo. - I'll also put it inside of the comments if you have any questions. - If you have any problems with your modeling or with your renders, - feel free to upload a file and will be able to take a look at it together on maybe try to - troubleshoot any problems that you guys may have. - Now, - the last thing that I want to show you is beyond setting up the location where you want - your file to be saved. - The only other thing that we need to do is instead of pressing this quick render, - but which we have right here is this middle button right here has a dropped in. - And if you go to render to picture viewer, - it will begin rendering out your image, - your final image to the location where you've already set. - So it'll go through its process. - It will do all the passes that it needs to do. - And when it's done, - the file will be saved on two year folder where whatever the destination is that you set - for it. - So with that said, - I want to thank everybody for coming along this ride with me. - Um, - I hope you guys have enjoyed it. - I hope that there will be another, - maybe an intermediate modeling course that I'm able to do here with skill share. - And I just want to thank everybody, - really, - for allowing me to introduce you to Cinema four D. - It really is one of my favorite programs. - I don't think I'm ever sitting in front of my computer without having it open, - just in case something crosses my mind. - And I want to just try something new out. - I really recommend you guys just playing around with it as much as possible. - I can't stress enough how much exploration has really enhance my knowledge of the program. - And it would do the same for you to just tinker with it, - play around with it, - try different settings, - take what you've learned here and maybe apply it to different objects. - Of course, - you can use what's in our finals on our final render as your base model, - but from there really start to explore the program and see what else you guys could do with - it. - Eso What? - That said I want to thank you again. - My name is Carlo Diego. - I've been your host and hope to see you guys in another video soon. - Have a great day. - Bye bye.