Learn C4D - Cloth Collider Poster | Morgane BWK | Skillshare

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Learn C4D - Cloth Collider Poster

teacher avatar Morgane BWK, Visul artist

Watch this class and thousands more

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (26m)
    • 1. Intro

      0:36
    • 2. Intro class

      0:24
    • 3. Cloth Colision

      4:02
    • 4. Materials

      4:21
    • 5. Alpha Material

      4:29
    • 6. Creating the scene

      4:11
    • 7. Background and shadows

      4:36
    • 8. Final touches and render

      3:31
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About This Class

Welcome back, everyone! In this class, I will guide you through the making of cloth collider posters with C4D We will explore the cloth collider tools, as well as layering materials with the option alpha. I hope you're excited!

Meet Your Teacher

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Morgane BWK

Visul artist

Teacher

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Transcripts

1. Intro: Hello, I'm wrong. My name is Morgan. I am an artist and designer. And today I would like to introduce you to my class about cinema 4D and for the shop. So I've been trained in an art school and I've been doing many different internship that had to do with either photography are image-making. And I'll be very happy to show you what I've learned so far. Would be nice to software separated, but also what happens when they're combined together. 2. Intro class: Okay, so what am I trying? New products? Where we're going to do today is that we're going to use the last image from last time to create a new image of Cinema 4D. So I really like to do that. I guess it's basically called a miss on a beam. And what this enables you to do is to bring all image that you created in a different setting and to basically reuse them for different things. Okay, so let's get started. 3. Cloth Colision: I want to do here is that we want to bring in a cylinder, okay? So we want the cylinder to be shifted to 90 percent. So what we want to make sure also is that behaved segment is really high, so I would say 40. And also that the rotation segments at least 30. We want the radius not to be so big because what we want to basically do is metal tubes. So let's bring them. Yes. Something like this. Rotation segments, I guess. Nice. Okay. So we do now have our first tube. Let's press Control-C Control-V and duplicated Control-C, Control-V, duplicate it. And then consciously control we duplicate it again. Okay, so now we have this tube that are on the same axis and I guess I will just create five of them so I make sure that the panel Islamic enough. Okay, great. Once we have this tube, we're going to bring in plane. So the plane will be, in that case scenario is that it will be our image. Because it will be our image is going to fall into the cylinder. We want it to be wider. Exactly. Then the cylinders, we wanted to be a sort of A3 size posture. So I think that's actually quite accurate. And we're going to drop it a bit higher. Great. With the width segments needs to be really high because this is going to be transforming to a cloth with regard to see later. But so I will put it to 60. And then 60 again. Great. Okay. So here we have our tube, whoever airplane, what are paying is going to be is that we're going to go into right-click. I'm going to select an image simulation type, excuse me. And we're going to put it the cloth. So at a cloth medicine is going to be a sort of digital that's going to fall because of gravity. We're going to go to four and we had Simulation tags. And it's glove collider because this is where the class is going to fall into. So let's try the cloth collider for all of our cylinders. Simulation tag, clave collider again. In simulation tag close collider and Simulation tags. Simulation type please. Okay. This one is struggling simulation tag, Klocal item. Okay, great. So here we have all the different elements that are going to play in the simulation that we're going to do. The gravity, we're going to put 0 here because we don't need this twofold so far. And the plane will only start falling once you make it editable. So let's make it editable and let's look really quickly at what this good so far. Okay. So I was wrong, excuse me. We're going to still bring gravity to minus eight. And where we can see here right now happening so far is that we had this already really nice type of cloth that just fell into our cylinder. So yes, this is kind of how it gets and we don't really even need a subdivisions like a subdivision divider here, because somehow our segments were so high in the previous elements that this cloth somehow very naturally comes into our cylinder. 4. Materials: Okay, So what we wanna do here is create a new default material. We're going to come here and bringing color in color. You're going to go to the texture, Texture tab. We're going to get indexed up and bringing our Fontane finish. And then we're going to go to reflectance and make sure it has some kind of nice light and atmosphere to it. Okay, let's bring in here. And now we have our Fontane that is somehow falling. The problem we have here right now is that alfentanil is actually not the right way round. The Fontane should be here. To change this, we're going to go to our managerial editor, color, texture, and then we're going to go to, and it's, um, okay, so modulator texture. So texture, and we're going to go to Layer and then at it. Yes, Exactly. Layer edits. So when you go to the Effects, you can go to Transform. So by bringing this into the different angle, I will make sure that the poster is actually on the right side. So yes. Once again, you go to the Color tab, you add layer. And then once you can go to the layer, such as here, you go to Effect, transform and change the angle. Okay, so now we have our poster fixed. We can go really quickly to our Render Settings and go back to physical effect, ambient occlusion and global elimination as electric do it. And let's have a real quick look at what's happening so far. Oh, of course nothing's happening because we don't have a sky. Okay. Let's bring in our sky. Okay, great. So we already have this like quiet, nice effect of our image being in space. Of course, we might want to be a bit more playful than this. And we can do so by, for example, dragging this in a sort of like escalator mode so the image is not going to end up being so stiff. Let's look at the new simulation. Okay. You, mine and want to wait too long because yes, the simulation of the cloth really gets home quite easily. And then it becomes something else. So if you actually want to baby playful your posture, I would suggest to stop maybe in the beginnings of the frame so you can still see bit how the textile react. Ok, that looks good. While we wanna do now is we want to make sure that our cylinder looks somehow metallic. So that can be a bit of a tricky material to create hbar. We all going to try it together. So we're going to go to material color. We're going to just not bring any color bird. We're going to stay to reflectance. We're gonna go to this material and then pave it around to make sure that we can get towards something that looks quite shiny but still has some kind of noise into it. Okay. Okay. So we have this sort of like metallic type of thing happening here. You're going to get the settings I just used. What we might also want to add is some kind of texture to it. So bump is going to add a texture. And the same whether the displacer is going to transform an object above, we'll add noise. So as you can see here, we can of course, augmented with it, but see this texture changes a bit. Okay, so now we have all of these elements. Let's just drag it real quick and see how it looks from the quick render view. Okay, let's look at. 5. Alpha Material: Okay, We already have something quite interesting here. I just must say, I think this are too thick. So let's bring the radius 2, 10, 10, 10, 10, 10. O, sound like. Okay. Let's bring in one more. Each year, our environment, so we can make sure that reflections happen nicely. Okay, let's bring the HMM and to our sky. And let's look at what's happening so far. Okay? So as you can see here, we already have this like quite interesting looking shape. The metal doesn't show quite natural, but we can fix this later. What I would like to just look at right now is at sort of dogs, you the stratosphere. But how does this behave when looked at from the above? Okay, we have a reduced tech, quite nice reaction ministry to be a bit playful with the material. So we can try to see how it can make sure that this metal actually comes out in the nicest way possible. So we add a bit of this when we want to do now is that we want to add another material on top of this metal. So what we will do now is go to reflectance environment again, sorry, we're going to go to reflectance. Okay. We're gonna go to bump again. We're going to add, this time maybe stronger takes term, maybe you yes. Something like this. This looks quite good. Color. Okay? So if you play with the reflectance in the Material Editor, what you will see here is that you can play a bit more with sort of like golden settings. I don't wanna go too much into the golden, right? Because I have the feeling that it could live it tricky with the other colors of the poster. But you can feel free to play around and have this more defined effects. Okay? We're not going to go to Alpha and the texture. I'm going to bring a Fresnel again. Okay, great. The first node here is quite important. So by dragging this small button here, you'll be able to like leave or remove more of the material. Okay, I'm quite happy with this. Let's bring it to our different cylinder. When you can notify here is that you will first have the material of metal and then the material free of the sort of golden look. Let's have a quick look here. Okay, Right. Can you see already what is happening here? I can just come closer. Let's look at this real quick. As you can see now we already have a metal that has more definition and look to itself. And this is mainly due to the layering of the different materials that we used. Okay? But I can also see right now is that my image is looking good, but I'm still gonna add a subdivision surface just to make sure that it actually comes out extremely smooth when I render. Okay, let's have a look at how it looks now with this image in service. 6. Creating the scene: Hey, suites, where we want to make sure is that somehow the image reflects nicely to our render. So we're going to just move the image around. You can either move the scene around or you can also move your camera around. It very much depends on what you initially wanted. Okay, so I very much like all of these elements. Right now, I'm just put two more thinking about how about we turn this golden look into something a bit more white. Our Will, it just turned into two, middle again and labor twice. Let's try with the blue. The blue seems to be more suited to the situation. I would say so, Yes. Okay, Now we've played a bit around, move our scene. Let's just look at how the collision behaves when we don't do much and just see what happens. Okay, so as you can see here, the more we wait for our clove twofold, the more the collision is going to be important. And then, yeah, the image can be quite distorted based on that. We don't really want to go for that. Look, although we could be interested in that, but it's going to come down to like more details in another video because as you can see here, the wider and the more extreme the collision is then the mother's chances of your project to actually look pretty undefined. So for today we're just going to go on top view. Okay, yeah, let's do that. And then start the simulation again. Stop it. Whether we feel comfortable with our image. Exactly here. For me, I know it's here. Okay. So what we did previously is that we initially always take the image export as a PNG and then we work with it on Photoshop. Where we can do today is work on it quite directly. So we're going to add a plane which is going to be in the background environment. So as you can see here, I'm just going to add it here. I'm going to make it bigger. And yes, we have to go find of a nice texture to bring in. We could bring our poster again. It would be too repetitive, right? But just so you can see what happens already. The reason why it's also nice to use background in the image already said you're going to bring all the nice elements of having initially the shadows. So I think that's always something reignites to consider. And of course, it very much depends on your taste as well, bringing the metal material, which also looks interesting. And then we could also bring in the blue dimension that we also added to our tubes. 7. Background and shadows: And then here you can see already we have this sort of like nice bluish refraction happening. So, okay, let's go back to something a bit more. Frontal and see what happens. If you look at it from a frontal perspective, you're less likely to have shadows, but because there's so much light in this scenario, it could also very much be there and happen. I'm having a less, less excited about this selection. Maybe just create an undeformed material. Maybe we can bring in some colors and we can bring in a gradient. So the gradient here is black and blue. But maybe we want it to be something different. Like maybe we want it to be gray and we're going to be gray and Lou, like our image nationally. Okay. I quite like that. We can bring it reflectance and made the reflectance really intense so we can make sure that our appellate room reflect on that image. You see right here. Let's look at what happens. See. So by using this kind of reflective material, you can really make sure to have the sort of like mirroring effects of your image. Okay, so now if I look at it from that perspective, let's look again at what it gives us. You can of course, make this bigger. They have more room to play with. You can also make it very close to the initial image. Of course, data you can always, always exploited in the alpha channel as a PNG. And that will enable you to make sure that, you know if you don't want the background neutron habits. But it's also interesting to use the blood form of Cinema 4D, finding interesting backgrounds because it does enable quite a lot. Okay. I really, really enjoyed that. There's something I've been thinking about for a little bit now is about widening this single vendors. You of course have to do it if you're not interested in that, but I might as well just give it a try. So I'm just gonna bring the weight, the height, sorry, of all of them to 2000. So they basically will disappear in the image. Okay, 2005, me one. Great. Okay, nice. Let's bring in now our quick render view. Okay. As you can see right now, we can almost see the edge finishing around here. So let's bring it a bit closer because we can see by the shadow that are ending, you're going to also make it actually just longer and then avoid that effect. Okay, I can see that the shadow here that this is not going to resolve my problem. So I will just make it even bigger. Let's say the authors and 4,400 and then 4 thousand. And then finally 4 thousand. Okay, great. Now we should have all of our tubes long enough. Let's look at the Render. 8. Final touches and render: Great. Okay, I'm very much into this image. I would just want to real quick also show you that in case you're not happy with the metal, that is only, only always sways for you to bringing. Another material. For example, the one we created here in case. And you can always change the aspect of the metal is just to show you that the metal I created here, if you're not happy RED, or if you also don't want it to be metal, it can be anything else. Let's just have a quick look. Runoff how it looks. Okay, so depending on your taste, of course, you can choose anything that you would want and find more interesting. I think that I actually prefer that material here. So I will just change them all. And then we will go to the render setting. Of course, you can always feel free to play also bit with the angle. You could change side. You can very much play also with the cloth depending on the effect you want it. I am very happy with this so far. So figure would also look like a staircase from that angle, which I would also feel quite happy about. But let's just go to our Save Settings. So I'm gonna go to something which is somehow proportional. So let's go to 200s and then go to at least 400 DPI. Great. We don't want to put the FHIR right now because we actually want our background to be present knowledge. Just wait for the render to happen and see the result. If the rendering is very long, it probably means that maybe the settings are too high. We have a lot of refraction in this project. We also have a lot, a lot of segments. So that could be the reasons why if your computer is not really strong, I would highly suggest that you either don't put the same resolution or that you either remove the subdivision surface because as you can see initially, I subscript subdivision surface was doing was not needed so much. So I would say just play around with the settings and just make it easy for your computer because you want it to live longer. Okay, we now have our render almost John, I think it's an interesting image, but I'm not fond of this frontal perspective. So what I will do is that I will move it a bit around, get as close as I can like this, so make sure I have the entire frame and then maybe tilted to the inmates. Okay. Nice. Correct. And then I will once this renders done, which is should be by now, I will just click on Render again. Okay, So we have image, as you can see, it took five minutes for me to render, which I think is very long. And we're going to save it as a tiff this time. I can also say it directly as a JPEG. It doesn't really matter. I would, I would just suggest is definitely to make the settings less high. It religion to be that big, but we'll know that for next time. Okay. Desktop and then poster as a final document.