Learn Cinema 4D - Create Abstract 3D Design Elements - Shape 2 | Jesper Sandell | Skillshare

Learn Cinema 4D - Create Abstract 3D Design Elements - Shape 2

Jesper Sandell, 3D Designer - Velocitypeak

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
9 Lessons (47m)
    • 1. Introduction

      1:04
    • 2. Wrapping a Capsule Object Along a Spline

      6:02
    • 3. Creating Wrinkles with the Displacer

      4:03
    • 4. Adding a Second Object

      4:57
    • 5. Adding a Camera and Framing the Shot

      3:25
    • 6. Lighting the Scene and Creating an Infinite Floor

      9:00
    • 7. Adding a Material that Matches the Displacement

      11:33
    • 8. Render Settings and Outputting the Final Result

      6:34
    • 9. Thank you for watching

      0:39

About This Class

Jumpstart your Cinema 4D skills by learning how to make abstract 3D shapes

This is the second course, in a series of four, where you'll learn how to create abstract 3D design elements.  These types of shapes are excellent design elements for graphic designers and motion designers. You can use them for both 3D and 2D workflows. 

You'll need Maxon Cinema 4D(Prime, Broadcast, Visualize or Studio).

We learn best by doing, so this is a hands-on, project-based course.

We will use a procedural workflow that doesn't require modeling. That means that all settings remain editable, and we can change the entire look by just adjusting a few sliders. It makes the whole process of creating and experimenting fun, flexible, and powerful.

Here's a glimpse of some things we'll cover

• Working with the Spline Wrap deformer

• Working with the Displace Deformer

• Working with Layer Shaders

• Using effects in Layer Shaders

• How to create an infinite floor.

You'll have access to all the project files, so it's easy to follow along. Although I hope you'll experiment a lot so you can come up with your unique designs.

Jesper

Transcripts

1. Introduction: Hi, I'm just percent del. And I'm a three d designer. This is the second cores in a series of four where we explore how to create abstract shapes in cinema 40. If you haven't worked a lot with cinema 40 before, I recommend watching the first course in the Siri's as I go more into depth about core principles of cinema 40 and three D in general. In this course, we're gonna build this, which is my attempt to write number eight. All techniques are procedural. So with minor changes, you can adapt this toe other shapes, and it could be used with other numbers or letters. Just as an example, we're going to use a spine wrapped a former in conjunction with a displaced to former. And we're gonna match the effects from the display, sir, to the material so they flow together as one. In the end, we're gonna render with a seamless background and an infinite floor. I encourage you to experiment and try different variations as you work through the project files. Okay, let's start 2. Wrapping a Capsule Object Along a Spline: at the end of the lesson we're gonna get this kind of shape is round shaped that has nous nice tapering at the ends. So let's start. Let's go back to the beginning file here, and we are going to use a Splain rap. So let's start with adding a spine. So under the spines menu, that splint I'm gonna use is an ark. And in the Ark settings, we have a start angle and we have an end angle, and I'm gonna add is I'm gonna have it almost closed in on itself. But I'm gonna leave just a tiny little gap. So 358 you can see that there's a tiny little gap here and I don't want it to be so big. So I'm gonna take down the radios to 100 and now I'm gonna add the geometry and the geometry I'm gonna use under the Primitives menu is a capsule. So we're gonna take this capsule and we're gonna wrap it along this spine. The capsule is a little too thick, so under the radios for it instead of 50 let's set this down to 25. And the way that we're going to wrap it around the arc is by using a Splain rap. So let's go up to the D Formers menu and add a Splain rap. And let's make this plain wrap a child of the capsule and the spine Rap needs ESP lined so in the spine field that's drag in the Ark, and that's a beginning. Now the access is wrong. So instead of plus X, let's set this two plus why? And that looks a little bit better. Now in this blind wrap, we have a mode set to fit spine. We also have keep length. So now we can see the actual height of the capsule. And I want to match up the capsule height a little bit better with the Splain length. So in the capsule, I'm gonna increase the height from 200 to 500. So now he matches a little bit better. Let me go back to this plain wrap and change demoed from keep length to Fitz blind again. Now we are going to add a display, sir, later on to get the wrinkles and whenever you use displacement, you need to have a lot of geometry. So we need to increase this a lot. So to see the geometry, let's go up to the display menu and change it to guru chaining lines. And now it can see the geometry. So let me go to the capsule and I'm gonna increase first height segments a lot. And I'm gonna set this all the way up to 335. I wanna have a lot of geometry Now, I need to match up the rotation segments with the cat with height segments now, and I want to create approximate square polygons. So let me take that up until it becomes little square. So I think about around 100. It's pretty good. Now, I also need to do the same with the caps here. So let me take this up when I set this to 40. I think that's gonna work just fine. So now we have the geometry. We don't need to see it anymore. So let's go back to the display and set it to go rude shading to create the tapering. We're gonna go back to this plain wrap, and normally this one is folded up like this. But under the size part here we have two spines. We have one size and one Splain size display in size is controlling the size along the spine where it's the top. Explain here is controlling the size of the geometry. And we're gonna add some points to this. And to add a point toe one of these blinds, you add either the control or command key depending on if you're on a Mac or a PC, and then just click, and I'm gonna add one more on this side. So now to taper them, I'm gonna take the endpoints here and I'm gonna drag it straight down to zero there and I'm gonna take this handle. I'm gonna pull it up, maybe pull this point over a little bit. We can always come back and change this later on. Let me do the same thing to this side and then pull this one over a little bit. I see. I think that's pretty good. So that's the tapering. Now we have the shape that we want. I just want to show you one more thing in this plane rap, and that's on the offset from and to. So we're starting at zero, but we don't have to start at zero. We can start anywhere along the spine if we want to. And we can have it end anywhere that we want. And then we also have an offset so you can have it travel along the spine if you want. Now, if you go continue going is gonna leave the spine because we have we have an open spines, an ark. Now, these parameters go beyond the values that we see. Here's from 0 to 100. But you can go below that so I can actually have this one travel outside and you could animate this and you can come and you can travel along the spine. And then it could leave this blind and that could become an animation. For example. It's just a very powerful feature. We're not going to use it, but I wanted to show you so you can use it in your own projects. So let me set this back to zero and then to 100 and that is the beginning of the shape. Next up, we're gonna add the little wrinkles with displays er's and that's up next 3. Creating Wrinkles with the Displacer: at the end of the lesson, we're gonna have this this distortion where we have all these wrinkles going around our shape. So let's see how we can do that. Let's go back to our starting file and I am going to add under the D formers menu. Let's add a display, sir. Make the displaced or a child of the capsule underneath the Splain rap and under the object tab, I'm gonna set the height to five and the type I'm gonna set to intensity toe Onley pushes in one direction and under the shading I am going to add a layer shader to this. Let's go into the layer Shader and add a noise. It's going to the noise. I am going to stay with a standard noise. I will change the space to UV to D and I am gonna leave global scale. But I will change this one. So now it follows to flow of the polygons in one direction. Let me increase the contrast a little bit, things like that and then let me change the seed. Okay, that's good. Let's go up one level and was really going to sell. This is by adding an effect distort, and the distort effect here is going to distort the noise underneath with another noise. And I am going to choose Naki, which is one of my favorite noises, and I'm gonna enable three D and let's punch up the strength to 100 and looks quite strange now. But let's fix that now. The octaves is the amount of detail in the noise. The noise scale 100%. If we take it down, the noise actually gets larger. So if I set this to five, we get this wavy type of surface, which is kind of what I want Now we do have one issue here, and that's that. There's a scene going here, so I'm gonna change where it says rap. It says seamless. It's not exactly seamless, but we're gonna change this to cycle, and that's gonna take care of the seem for us. One interesting thing about the distort is that it does have a time scale set to 100% and that means it's gonna animate by default. So if I go down to my timeline and hit the play button, you can see that this is kind of animate now we're not using that, but it could be used for a lot of other projects. So let me go back to frame one. So on top of this distort, I'm gonna add one more distort. So effect distort, and I'm gonna enable three D and cycle for this one as well. I am going to choose a different noise. I'm gonna choose Luca, and that's up to strength to 100 octaves. Five is good. Now I am going to take the noise scale down a little bit less this time. I'm gonna set it to 15. So now we can see that something is happening. But we need more geometry to display this. So let's add this to a subdivision surface. Make the capsule a child of the subdivision surface. And now we have it. We have all these little wrinkles on our shape. Now, I might have gone a little overboard, but you can tone it down if you want to. Um so next, let's add the bottom part of this 4. Adding a Second Object: at the end of this lesson, we're gonna have this. I've added the bottom piece of this and it's my attempt to write number eight. So let's see how we can do this. Let's go back to the starting file and I'm gonna zoom out a little bit. And before I do anything, I'm gonna group thes together. So I'm gonna add a null call this one top, and then I'm gonna make that a child of the subdivision surface and then take the capsule and everything and put that inside of that. No. And then I'm gonna take this top, and I'm gonna control or command drag to make a copy called this one bottom and let me rename the Arcs as well, eh? So this is the Ark top, and this is the ark bottom, and I'm gonna take the ark bottom, and I'm gonna drag it down. And let's change a few things. Let's go to the display, sir. First, And I'm just gonna do one thing. I'm going to go into the noise and I'm just gonna change to seed. So these are not identical. It's the same type. Same distortion. Say the same type of noise, but it's a different seed. Good. Now, I also want to make some changes to this ark. Eso Let's go to the Ark. Make sure first of all in this blind wrap, I want to make sure that this one is using the ark bottom, which it is. So I'm gonna make the ark bottom just a little bit bigger. So 120. No, it doesn't update. So let's refresh that. If I hit the check, Mark is gonna disable the spine rap and then enable it. So now it's snapped back, and I the capsule, I'm gonna make a little thicker. Actually, I'm gonna make it 50 centimeters twice that twice the size of it. And you notice one thing here and that is that the bottom part here is not subdivided. The top one is, but the bottom one isn't. And that's because the subdivision surface Onley sub divides to top child. So to get around that weaken, just group the top and the bottom together. So let's add one more. No. And I'm gonna call this one G e o for geometry, and then I'm gonna take it and make that a child of the subdivision surface, take the top and the bottom and dragged them into that new null. And now they're both subdivided. So now let's position these a little bit. Let me, ah, get a different camera angle Here, let me take the bottom, are just dragged that one down and let's rotate the top one here a little bit. So was going to the coordinates and see. Let's leave that at zero. Let's change this, um, situs to 60 we can see can really see. But I set that to 60 and let's bring the bottom marked down or up rather, and let's rotate the bottom mark, maybe minus 1 25 And I think this type of camera angles good. So let's rotate it on this axes as well on Let's see. So I think that looks pretty good now. They are intersecting here, but that doesn't really matter if we do it from a different angle. Get away with that. Um, we may want to take this go down a little bit. See, I think that's good. I'm gonna leave it at that. So let's add a camera that's coming up next 5. Adding a Camera and Framing the Shot: Let's add a camera to this. We also want to set the output to mention, so let's start with that. So under the render settings output, let's set it up to be a 2048 by a 2048. And then I'm gonna close this and under options and configure, Let's go! And under the view tab, let's set up the tinted border the capacity to 90% so we can frame this a little easier. Now. I don't want to see this cage here. This is displaying wrapped cage. We can hide that. If I option or old click on the stop light. And on the 2nd 1 as well, Now they're gone. Let's add a camera. I wanna click and make a camera and make it active. Now I'm gonna change the focal length of the camera. So let's set it to a 25 millimeter lens. So we have a wide angle, gives a bit more of an extreme angle. I'm also gonna add a floor cause I wanna add a shadows. So that's out of floor to this and I'm gonna add a disk and we need to push the disc down. So sit underneath and let's go to our Let's do F five so we can see on the different cameras here. And I want to make sure that it sits just below our shape here. So to drag it just below there, So that is good. F one is gonna take me back to the perspective, or I can click on this button. So it's a tiny, tiny disk, but let's make this a lot bigger. So let's get this tool, the scale, tool, and scale it way up. I'm scaling it way up. So that is good. Let's see what we can do with a framing. Um, I try to put it in the middle of the shot. Something like it. Something like this. It's a bit tilted, which I like. Ah, and, um, yeah, I'm gonna leave it at this, So let's go ahead and organize the scene here a little bit. Now, um, let's add one to and three nails and the first no, I'm gonna call seen, and then the 2nd 1 I'm gonna call camera, and then I'm gonna call the last one lights. We don't have any lights in yet, but we're gonna add that next So for the scene, I'm gonna put all the elements, all the scene elements in there except the camera Drag that into the scene, and then I'm gonna put the camera and the camera nal, and now we are a little bit more organized. So next up, let's light this. 6. Lighting the Scene and Creating an Infinite Floor: Let's light the scene before I like to seen. I want to make sure I don't accidentally move my camera. So I'm gonna add a protection tack to my camera. So right, click Cinema 40 tags and then hopes ah, protection. So now we can't move it accidentally. Now, I'm gonna create an infinite floor with this. So a floor without a horizon line, Um, let's first start the interactive render region, make it a little bigger and to create the infinite floor. The first thing I'm gonna do is to go up to this menu and at a background object. And I'm gonna create a color or a material for the background object. So let's go to the materials manager double click to make a new material When I call this one BG, and I'm gonna double click it to open it up me. Bring it over. I don't need any Reflect inside. Gonna turn that off the color set to 80% here in the brightness. That's good. I'm gonna leave it at that and then I'm gonna drag it to my background object. I also want to add it to the disk that we have on the floor. So that's twirl down the scene, and I can control or command drag directly on this one and just drag it down to the disk so we don't have the infinite floor yet. We need to do one more thing to get that going, and we need to add another tag. So to the disc, I'm gonna add cinema 40 tags and a compositing tag. And in the compositing tags settings, there's a check box for compositing background, and when we enable that we're gonna get the effect that we want. So now we have the infinite floor. It looks a little weird because we don't have any shadows. We need to have some sort of contact shadows at the bottom, and we're gonna get them when we add the lights. So let's go ahead and add the first light. So on the light menu, I'm gonna add, I'm gonna have a target late and a target light is simply a light that Cinema 40 adds a target tag to, and he creates a null as a light target and in the target tag it. It is referencing the light target in the target object. So let's go to the four views so we can see a little bit better. And I'm gonna change this light right now. It's a spotlight. I wanted to be an area light. So under type when I set is to be an area light and I want enable shadow. So instead of none, I'm gonna set this to an area shadow and let's ah, get the move tool and then I'm gonna move this light somewhere over here. So let me drag it over here and I wanna have it a little above. So let me enable this view. Let me zoom out here a little bit and I'm gonna drag it. Upsets sitting above the shape. I think that's good. Now this shadow is quite harsh. Now, one way we that we can get softer shadows is by increasing the size of the light. So let's do that. That's enable the light and let's go to the details. Right now we have size X and Y's 202 100 centimeters and the outer radius Here these air connected eso if I said this two instead of 100 if I set this to 300 it's gonna be a much bigger light and you can see that the shadows are getting a little softer now and in the light I'm gonna increase the intensity to say 1 20 And I'm also gonna make this light a little warm. So I'm gonna ask some color to that. The orange Just a little bit of warmth to it. Okay, that's good. Now let's duplicate this light. Let's first call this one the key light, key light and then command or control drag to make a duplicate. When I call this one the fill light feel light And in the fill light I'm gonna disable shadows So shadows none. And I want to see the fill light old way itself. So I'm gonna turn off the key light and let's move the fill light over to this side. And I wanted to be a little bit below like we have now. That's good. It's too strong. So let me set the intensity down So 80 and I don't want this light to be a warm light. I want this to be a cool lights. I'm gonna drag it into the blues. So that is good. Together we get this. So that's good. Let's add a rim light to this as well. So I'm going to duplicate the fill light command control drag and call this one the rim light and let's disable these lights and I'm gonna take the room light and I'm not drag it right behind the object, and I also need to move it above it. So let me pull it up and I don't need to be that big meat make a little skinnier or fatter , I guess. Ah, and lets putting that nice numbers. So 700 perhaps, and then do 100. And I don't want this light to have color. So let's go back to the General tab and make it a white light. And I think that's pretty good. Um, yeah, let's leave it at that. That's pretty good. Let's maximize this perspective here, and let's increase the quality so we can see this a little bit better. And let's enable all these lights but may actually take down the intensity of this. Want to say 60 is going to be a little subtle, but yeah, that's better. So I think the light is good. I think the shadows are two weeks, so I wanna have more of an impact on the floor. That should also be a Mormon impact here. Also, I want more darkening in the Kravis is here, and one way that we can get that is by adding something called ambient occlusion. So if I go up to my render settings and we have effect and then ambient occlusion, an ambient occlusion is gonna add darkening into crevices and you're going to see that they fill in here, that's gonna fill it, fill in at the bottom as well. So without it by disabled it, you're going to see that it's a lot flatter without, But then when I enable it, it just looks. It looks better when the shadows are filled in like this. Now you have controls. You can make more of a stronger effect if you want to. Here's the mapping. So if I would take this like one dragon all the way here is gonna be a lot darker. That's obviously way too strong, but you can let me let me actually pull this one back and normally this is twirled up. But let me toilet down. I'm gonna have a bit of a blue light and not as dark. So something like that. Okay, so I'm happy with that. I'm gonna close this and the lighting is done. Let's organize this a little bit better. Let's take all the objects that lights, even the background. I'm gonna put them in the light folder and the lighting is done. So next, let's go ahead and add the material to this. 7. Adding a Material that Matches the Displacement: So let's add materials to the scene. Before we do that, though, I noticed one thing here that I didn't see before. There's a line right here and this is due to the shadows. Eso I need to move my key light a little bit. So let's do that. Let's go and see all angles. I am going to take my key light and I'm gonna pull it up a little bit and I think that kind of does it. Let's bring this full screen. Yep, It looks a lot better. So that's done. Now I'm gonna turn off the subdivision surface because I know that this is gonna be a little heavy to render. So let's add the material. I'm gonna double click in the materials manager and I'm gonna drag it to my capsule and I'm gonna command control drag it to the other capsule and that's double click the material toe . Open it up and let's work with the color first. So in the color channel I'm going to go to the drop down and I am going to add a layer shader and let's go into the layer Shader And the first thing I'm gonna add is a Grady int and let's go into the greedy int and I'm gonna twirl the settings down and I'm gonna load in a preset so load preset and the preset I'm gonna choose is flame three. So now it doesn't look right in terms of colors, but we're gonna fix that. But first, let's get the same type of distortion that we have in our display, sir. And the way we're going to do that is to add the exact same distort er's with the exact same settings. So I need to go back into my displace or to remind myself we had So the first distort is unlucky. So let's add effect, distort and then not keep. And it's three d. It's cycle and the strength is 100%. And the scale here is five. So now we're getting somewhere. I can see that it's starting to follow the contours off the displacement here, which is good. Now we need to add the 2nd 1 to eso effect distort. And the 2nd 1 here is a Luca and then three D cycle strength is 100% and then noise scale is 15. So now we have the base for it. I'm gonna add more details and we're gonna add more details. Is I'm gonna go into the original Grady int and I'm gonna double the knots. Fight, right click under the bar here, I can do double knots. That's just going to give me a lot more detail and let's go up and I'm gonna add something called a color riser to this. So in effect, color rise and I want to take the color rise and I want to put it below the distort layers and the cull arises. Gonna take the luminant input and colorize it based on the not such a place here, But I'm gonna use another preset here. It's a low preset, and I'm gonna use the same preset one more time. That distance sold our colors, but now we have colors, maps to it. I'm gonna add one more color rise and now I'm gonna color this so I'm gonna drag it underneath the distort layers and I'm gonna place three knots here one to three. The not on the right side. Here, let me twirl down the settings. This not is the dark part, so I'm gonna make that not quite dark, Not quite black, but dark. This is the bright areas. I'm gonna make that almost white, but not quite white. I prefer usually to use not entirely white, Not entirely black. Now the middle. Not now is what I'm gonna use to color this. So I'm gonna pick a blue color up to saturation and the brightness a little bit. So now I have the base. Now, I can use these knots here to dial in the look that I want. And I pulled this in a little bit. So I think this is This is a pretty good I could tweak this all day long, but I think this is a pretty good start. So I'm gonna leave it at this, and now I'm gonna add the reflectiveness channel, so I'm gonna enable reflect INTs. And we have this default speculative that I don't want I'm gonna delete that. I'm gonna add a g X, and the G X comes in with full on reflection strength. The problem is that we don't have anything that we can reflect. So in our previous project, we used a sky object and we added on hdr i to it So let's do the same thing here. Let's go up here and add a sky object, which is just an infinitely large sphere that's wrapping around our project. And it looks really strange now, but the reflections are working because we have this gray area. Um, let's go into our content browser. And I did this before. Normally you would start from here so under presets, and I'm gonna go into prime and then presets, light setups, HDR I And then I'm gonna choose this one Sunny park. 01 You can, of course, use anyone that you want. But I'm gonna choose this one and go back to my object, a manager, and I'm gonna take this one. I'm gonna drag it on top of the sky, so I'm gonna make it invisible here in a camera. But I want to show you one thing first, is that in the sky object? We have a coordinates tab. So if you're not happy with the reflection you're getting on your object, you can rotate the environment here, and that's gonna change the reflections so you can rotate it until you get something that looks good. I'm gonna set it back to zero on and I'm gonna add a compositing tag to this so I don't need to see it in the camera. So right, click cinema 40 tags and then compositing tag. And in the compositing tag, I'm gonna uncheck seen by camera. So now the reflections are still active on our shape, but we don't have to look at it. I I don't wanna have color in the reflection. So I'm going to go into this material and bring this over and we don't need reflectiveness . I'm gonna turn that off, But in the luminess I'm gonna take this image and I'm gonna drop it into a filter so filter and in the filter I'm just gonna take out the saturation. So now it's a black and white image only. So let's close this and let's open up our material. So in the reflect INTs, I am come changed the attenuation from average. I'm going to use additive, which is gonna allow the color channel to come through now is very bright now, and that is because we have the color set here to white. So that's changed that. I'm gonna set this to between 40 and 50 so now he's starting to look a little bit better. Now I'm gonna increase the roughness to say 30 40 and I'm gonna take them reflection strength to about that. Sounds good. And then the speculates strength bring it up to around there. I also need to add a friend l to this. So we have some fall off for the reflection. So let's go to the labor for Enel. Enable that I'm gonna choose conductor. And this is the one that is referring to metals. Um, and I'm gonna choose Iran again. Obviously, I'm not going for a realistic look on this. Just wanted to look good. Cool. Um, so that's good. Now it's gonna chug along here a little bit. We need to enable the subdivision surface again so we can see this a little bit better. I hope you don't hear my fans too much here in the background on the recording. Um, I'm gonna add one more thing to this. I'm gonna add a bump and a bump is surface imperfection so that the surface isn't absolutely flat. So let me add enable the bump channel and we're gonna add a noise here. So let's go to the drop down and add a noise And let's go into the noise. I'm gonna make this really, really small. I'm gonna leave it at all the default here, but I'm gonna take down the scale to 10%. And whenever you're dealing with noise in the bump channel, you should adjust a global scale in conjunction with the Delta. So this is 10% for the global scale. So I'm gonna set to Delta to be 10% as well, and that makes that makes it crispier. So you get better bump that way. But it's way too strong. We can see it is way too strong. So let me go up. And instead of 20 I'm gonna set this to say, 2.5. I think that's gonna look a lot better. Yes, gonna be a much more subtle effect. So let's take a look at this and I mean, I think that looks I think that looks good. Um, I did see some things with the patterns here with the displacement that I'm not perfectly happy about. Eso I'm gonna address that in the next video. I said it's a little bit too tight. Here s I'm gonna adjust that in the next video on. So that's coming up next 8. Render Settings and Outputting the Final Result: So let's get ready to render this. First, I want to fix the issue I mentioned in the previous movie. I just think this is too busy A little too noisy, So I'm gonna fix that now. I could go into my displace er and changed its settings for the noise. But can I can also go in and change the geometry of the capsule? And I think I'm gonna do that. So let me go to the capsule. Actually, before I do that, let me turn off the top. It's a little slow to render. So let's go to the capsule here. And instead of 3 35 gonna set this to two twenties, there's a lot less now and sit down the cap segments to 28 click away, so I don't I don't see the yellow outline. And, um, in a time now, Okay. So I like that better. It's not as busy. So let me turn on the top here now. And the second thing I want to do is that I want to add a little bit of in yet ing to the background object. Let me turn down the quality for the render here and, uh, turn off the subdivision surfaces. Well, just so it renders quicker and I'm gonna increase the size of the interactive render region so I can see the full render area like that. Now, let's go into the background material. Let me bring this over and I'm gonna add a Grady into this a texture Grady int and I'm gonna ago Let's go into the Grady int. And instead of a two d you I'm gonna set this to a two D circular and I'm going to reverse these knots. So this bright one, I'm gonna not gonna have white. It's gonna be fairly bright somewhere in around 85 and then this one I'm gonna make not that dark. Maybe around 60 or so, maybe I can make this one just a little brighter. Okay, so that's good. Um, I like that. I'm gonna leave it at that. Eso Let's close this. Now. I want to show you one thing when we added this material to the disk before we copied it directly from the background. And when you add a texture toe, a background object, it automatically puts the projection to frontal. So when we copied this material over to the disk. We actually copied the projection as well. So if I look at this, it's set to frontal. But if I delete this and drag this background material directed to the disk, you can see that it defaults to UV mapping. And when you have you the mapping, let me de select that one. So you can see that with the UV mapping would get to seem here Now, um, so we need to set this to frontal mapping. So in the compositing tag, we have compositing background and in the material. We need to set the projection to a frontal mapping, and now it's gonna work. So we're ready to render this. So let me turn on the subdivision surface. Let's turn off the interactive render region and let's go to the runner settings. The output is gonna be 2048 by 2048 and the frame range doesn't matter because we're only rendering a still in the save. Save it wherever you want to your hard drive the format. I'm gonna do P and G and 16 bits per channel. I don't need an Alfa Channel cause we have the infinite floor here. And I am going to use the physical render if you don't have the physical renderers just used to standard and with settings from the previous project or about now in the physical tab here. Ah, I am going to use adaptive this time around. And in the sampling quality, I'm gonna set this to automatic. Automatic is a very smart mode. Cinema 40 figures out all the settings for us and in the shading error threshold here, this is like the quality slider twenty's fine when you're doing testings. I think between one and five is usually good for production and then it it automatically updates there the settings here for us. I am also going to up the shadows. Subdivisions doesn't increase render times a lot. So it's worth doing. And that helps with greeny shadows. And that's good. It's all set up. So I'm gonna close this and I'm gonna push this out for renders. I'm going to click on this button, render to picture viewer, and it's gonna check along for a little bit, and I will be back once it's rendered. The render is finished and the project is done. It could certainly be enhanced by adding some post effects. But I'm gonna leave that to you guys. So we started this with a capsule primitive, and we wrapped it along an r explain using a Splain wrapped a former. And then we added a display, sir, and the main characteristics that we have is from using the distort effect, which gives this wavy texture now in the material we added the same distort effects which enables to color to flow with the distortions from the display, sir. And then we rendered this with an infinite floor. Hopefully, this gave you some ideas on how you can use this in your own projects. Thank you for watching. 9. Thank you for watching: thank you for watching the course, the second of four on making abstract shapes in cinema 40 number three and four are coming soon, and if you follow me, you'll get notified when they're out. Don't forget to post your work in the project section below and let me know if you have any questions or if you have ideas for future courses you'd like to see. You can reach me on velocity peak dot com, which is my main hub, and I'm also on Twitter at Jesper Sandal. Hopefully, you found the course helpful, and if you did, I would very much appreciate a review. I'll see you next time.