Model a Toy Car in Cinema 4D | Pete Maric | Skillshare
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11 Lessons (1h 2m)
    • 1. Introduction

      0:51
    • 2. Importing Reference Images

      4:44
    • 3. 3D Modeling

      3:52
    • 4. Wind Up Mechanism

      8:20
    • 5. Wheels

      10:00
    • 6. Bottom Trim

      2:59
    • 7. BP UV Edit

      7:19
    • 8. Painting in Photoshop

      9:12
    • 9. Environment

      3:44
    • 10. Lighting

      4:49
    • 11. Post Production

      6:27

About This Class

Welcome to this course on modeling a toy car in Cinema 4D. In this series of lessons you will take your skills from beginner to intermediate in no time.

The topics that will be covered include the following:

  • Configuring viewports to model from reference drawings.
  • 3D Modeling with parametric primitives, a symmetry object and subdivision surface for an efficient workflow.
  • Body Paint UV Edit to prepare the UV layout for painting textures in Photoshop.
  • Texture creation in Adobe Photoshop
  • Lighting, camera views, and setting up ambient occlusion and global illumination effects.
  • Post-production adjustments in Photoshop to enhance the final image.

Ready to learn a simple method of modeling a toy car in Cinema 4D? Enroll today on Skillshare.

Transcripts

1. Introduction: Hello. Welcome to this course on modeling a toy car in Cinema 40. In this series of lessons, you will learn how to configure the reports. The model from reference drawings, once we have our reports configured, will walk you through the process of modeling with Parametric primitives. Symmetry object in subdivision service Renovation work You will learn how to use God. Thank you. Edit to you the layout paying textures Photoshopped Way will prepare scene for rendering by adding an environment, lights, camera views and setting up the ambient occlusion and illumination effects. Lastly will be minor postproduction adjustments and Photoshopped toe cancer pile ready to learn a simple weather model Parkinson 40 enrolled today. 2. Importing Reference Images: Okay, let's get started with creating a wind up toy and cinema 40. So the first thing that I going to do is find some inspiration images. I went on Google images, search for wind up toy and go through here and see if you could find any images that get inspired by or something that you want to create. If you could find some views that are Ortho graphic, direct side views, direct top views or front views, those would be helpful for modeling. Eso go through here, figure out the direction that you want to take for your project. What I did was I picked three images and I used bits and pieces from these three to create my own drawing right here. So I created a front view a side view in a top view for this toy car. Of course, you don't have to do it a drawing for yours. If you feel like it, you can otherwise find some sort of Ortho graphic views online that you can use to import into cinema 40. So the next thing that will do is we'll get into cinema 40 and I'm gonna configure my view ports with that drawing. So let's go to the top U port options configure and go to the back tab in the attributes manager right here where it says image, click these three old little dots and I will locate my drawing. I agree. The front view port options configure and again and back tam image. And I can configure that same image. Since I have three drawings on this J pay and then I'm gonna go options for this right report, configure. And again, I'll import that same drawing. So the next thing that I'm gonna do is create a reference cube And this reference Cuba, I'm just gonna make three by three by three inches. I know three inches is the depth of my car. So I'm just going to start with this as the was the reference. And as you could see, my my drawing is way too big for this. So what I'm gonna do is I'm gonna start scaling it down. If I goto options configure, go to the back tab right here where it's a size. I could start bringing this down, right? And I want this top view port actually could turn off this grid I go to filter. So it's not in the way. I want this top view, this top drawing tow line up with this. So I just bring this scale down its try something like 25. It's getting pretty close. And I can offset this in the X and in the Why so So this and matches over here. So let's try something else. With 22.5. Seems to be a good size and then offset this a little bit. 4.87 works for this particular drawing. Lines it up directly with center of the three D environment. We'll see what we have here. 3.55 3.3, 3.5. Okay, that works pretty well. And I could take this reference Cuban just kind of line it up with this. Get it pretty close. Now, I'm gonna that import these same numbers right here. So I get Oh, this options configure back tab. So the x se 20.5. Okay, so that's pretty good. And now we're gonna do is I'm just gonna go to my next one. She's right here. So right here when I wanted to do I want to make sure that this bind right here lines up with this red line, this is gonna be our floor and this middle line going right through this drawing lines up with this green a taxi. All right, so I'm gonna configure this last view port, so just typing those same values with Zoom in here. So this is my side of you. So now I want to offset this his ex value until I get this car to line up. Some minus 58 is there? That's looking pretty good. So at this point, we're ready to start modeling. So we have all of our drawings configured. We have the top, you poor configured the fronts and the side. At this point, we could probably just delete this cube and save our scene. 3. 3D Modeling: Now we're ready to start modeling. What I'm gonna do is I'm gonna create a sphere and I need to go into the side view port. I'll take the spear and just bring it way down. So I want to match this. There's drawing with this fear. So I know it's about three inches. Something make this radius 1.5 not just brings up slightly, and then I'm gonna change the type of spear that I'm using. So if I turned on display, grown shading lines could see all these Garak lines in here. So what I'm gonna do is I'm gonna go in this sphere attributes Manager where it says type Going to change is the hex a God, And for the segments just gonna type in 12 someone. We were working with a few segments going back to this view. Now we can see this spear short of lines up with this drawing. At this point, I'm gonna go ahead and make this edible, and then I'm gonna grab this rectangular selection going my points and, oh, select all these points and hit the lead on the keyboard. So essentially, just deleting half of the spear and then I'm gonna go into my front view. I'm gonna take the other half and delete that. Okay? Way. Always want to be working on a symmetrical object only with half of it. So what we're going to do at this point is take this and drop it into a symmetry. No, it was the other half. So that way, any time we move any of our points, we can control both sides symmetrically. Okay, so now I'm going to start shaping this. So I'm going to my side view that looks pretty good so far. If I go into my front view, you could see that the car's way to wind so I can grab this, go to my scale tool and just kind of scale this in a little bit until the kind of matches that drawing. And now we can go into here going to work points, and I could start grabbing some of these points, just sort of bringing those out. Maybe grab these down here. What I'm doing is I'm paying attention to these lines of this drawing and just bringing those in. Grab these. Maybe just scale these out a little bit. You have these two. Bring those out. Maybe bring those up a little bit. So right now, we kind of have basic shape of our car. If we take a render will notice that these engines air super jagged. So the way that we're gonna get rid of those jagged edges is we're gonna drop the symmetry object into a subdivision surface. So I take the symmetry and just drag up until I see that arrow pointing down and like, Oh, and now that's going to smooth out all of our edges. So now we have this really nice shape. All right, So if you want to go back in here and mess around with any of these points, you can grab a point to bring that out a little bit if you want. He wants in these other points, you know? So that's essentially what I'm doing. You get the basic shape of my car is just using half of the sphere and a symmetry object inside of a subdivision surface. All right, so that's the basic shape of my car. So we can do at this point is go ahead and save this. I'll save, and then we can go on and start creating the white up mechanism 4. Wind Up Mechanism: So I'm just gonna go ahead and rename this subdivision surface car s de delete all the rest of this just to keep everything nice and organized Carson Division surface. So next thing is, we're gonna create create the wind up mechanism, and the way we're going to do that is pretty straightforward. We're going to use some Parametric primitives and some spines. So the first thing is, I'm gonna create a cylinder. The cylinder is way too big, so I'm just gonna grab these nodes. If you can't grab these notes, it's probably because you're you're in one of these modes over here, So it's good in model mode and the move tool. I just grab one of these nodes. Bring it down, scale this down. You could also do the same thing in the attributes manager, where you just skilling this way and then I'm gonna go to my orientation, and I'll just choose plus X for this. Now I go into my front view and scale this and grabbing these nodes. Grab this one. You know, I'm just gonna push this up until it lines up with this wind up mechanism right here. You know, just bring that down black. It is pushed this over and make this the size that I need approximately right here. And the other thing that we're gonna need for this isn't additional segments right here. So where it says hide segments, I just increase that to kill notice. We get an additional height segment right here. So I'm gonna make this edit herbal, and we'll go into my front view. I'm going my points mode direct select tool. I'll make sure only select visible elements is unchecked. So no, I'm gonna select all the way through these points is bring this over. I'm going to create a small bevel here, grant my endpoints, my scale, tool, click and drag an empty area and just skill this down. So now we'll have this kind of shape. All right, so the next thing is, we're gonna create the additional part of this, which is this right here. So the way that I'm gonna do that is I'm going to go into my spine's rectangle spine and again this rectangle spine comes into enormous. So I'm just going to scale this down by using the scale total clicking and dragging in an empty area and right now it's a little bit difficult to see our rectangle because of this white background of our drawing. If you experience that, you can goto options configure for this view port right here where it says transparency, You could bump that up in that way, you could see the slime. So let's bring this plane down a little bit. And I'm just gonna position this into place of here yet again. Let's scale this. So it's about the right size. There we go. And I'm just putting it directly and center right here. He was just stop just a little bit and I can make this edible going to my points mode, grab these points and just line up over here. Grab these points and line them up with this. No, I'm gonna need to go in here, right click create point. But I'm gonna create an additional point here in additional point here. So now I can grab this top form. This top row is bottom row. It's kind of push those over. I could push the entire thing over just like this. I'm just trying to get a rough shape at this point. So now I can take this. And this could scale these in a little bit. You can move back, maybe Skilling up skilled out or moving out. There we go. What I'm gonna do is going to create an additional point in the center of these. Create a point here and another one here. And I'm just sort of eyeballing this when I grab this point and just push this up a little bit, do the same thing here, and I'm gonna take this point and right click. Soft interpellation is gonna give me a little bit of a curve, go to my move toward and grab this black little node. Just kind of push that over to make a nice your curve. For that, I'll do the same thing down here. Grab this point. Soft interpellation going my move tool. I can move this back a little bit. You just kind of give this a little nicer edge. Could pry move this in a little bit, so it matches that drawing a little bit nicer. Okay. Could do the same thing here and right here. All right, so the next thing is, I want to create these holes so that the way that I'm gonna do that is going to create a circle. And again, the circle comes in pretty big in comparison to our drawing. So I'm just gonna grab the scale, tool, scale that down. And I'm just gonna move this in place and again, I can continue scaling until I get it approximately the size that I need it the place and skill a little bit more. All right, so now I'm going to duplicate this hitting command, see in command V on the keyboard on a Mac, and then I'm just gonna bring this down right here. Okay? So now we have three different spines. We have this outline, and we have two circles. So what I'm gonna do is diagnose should select all of these in the object manager. Right click. And I'm gonna say connect objects in the league. So now that's gonna make one big explain. All right, now, if we take a render that spine doesn't render, we need to put it in some sort of nerves object to make it a piece of geometry. So I'm gonna grab and extrude nerves and grab this spine and just drop it inside the extreme nerves right away. We'll see. We get this extrusion, but it's pretty big. So what we're gonna do is we're gonna go into this extrude and I'll just bring this down. Would say 0.25. That's still pretty big. I can go into my side of you in reference that So let's try 0.0 to 5. It's a little bit too thin about 0.5 Still a little bit too big. 0.3. Yeah, that's looking pretty good. So I just bring this over. And if we need to change the acsi of this, just click this tool right here and bring this up, then in the center change this and that I could bring this down so it lines up directly with our other piece. There you go. No, we have this little wind up mechanism. So what I'm gonna do right here is gonna add a little bit of caps so these edges aren't as sharp. So my extreme Arabs and caps, I'll say Philip cap and fill it, cap. So obviously these capture way too big at this point. What I'm gonna do is I'm gonna bring this down. That's a 0.0.1 I was trying to say anything here. 0.1 see how that looks. It's looking pretty good. Maybe I could do a 0.5005 005 I think that looks a lot better. And I'll bring up the steps 23 to give it a nice little rounded corner. And there we have it. So now we could say we're seeing again, man, we want 5. Wheels: At this point, we can create some wheels for a car. So what I'm gonna do is create a cylinder. And I didn't take the cylinder and orient it where it's his orientation. Plus X and I could scale this down. Brings in slightly that I can use my Ortho graphic views to scale this properly some brings in. I bring this up radius I could bring down. That's pretty good. I could maybe bring this up just a little bit more. Five. Well, we try four or it's way too big. 36 Man, that should work. All right, so that's a good size for that. I can go to my front view making reference to thicknesses Back wheel. There we go. So right now, as you could see in these drawings, I have a little bit of rounding at the ends of these wheels. So what I'm gonna do is anything to go into caps and specify Philip that rounds my edges and then I'll take this down. Let's try 0.5 Well, 05 There we go. Bring this down a little bit more when you're four. I think that works. So here's a started my back wheel. So now I'm gonna create some sort of room for this as well. What I'm gonna use for that is another parent rhetoric primitive. I will create an oil tank again. This is way too big or in it in plus X. And bring this down. Size down. You know what I could dio in order to center this on that other wheel that's going to the cylinder where it says coordinates. I'm gonna take all these position coordinates. Highlight. Um, right click copy. Go to oil tank and paste those into here. So now that oil cylinder is directly in the center of that wheel, so go back object. Bring this down again. 0.5 25 That seems the work seems to be a good size. So I'm gonna go in my side view, and obviously, this is way too high, so I'm gonna bring this in for the sake of this. What I could probably do is just turn off this car, turn off wind up mechanism. So it's a little bit easier to see. All right, so this is looking pretty good, so I'm just gonna shape this a little bit. Maybe I could grab this kind of make it push out. There we go. It's looking pretty good. So now I'm just gonna cut this in half as well. I'm gonna go make it creditable. Going to my points mode, not going this rectangular selection. Just delete half this, and I'm just gonna take all these and I'm gonna start shaping him. So go on my scale, tool. Kind of bring these in a little bit. Something like that. You know, that looks okay. That's pretty good. So I'm gonna make this a child of a symmetry object. So I have the exact same thing happening on your side. So there we go. That's our real. So I'm gonna create some really basic treads on this is Well, so the way that I'm gonna do that is going to start with the Cube. And I just input one by one by one here. So obviously this is way too big. I bring this down slightly. Things down here, and I want to make this a little less deep, so bring that in somewhere around here. Right now, I want to add an additional segment to this. It's been at a segment in the axe. That would give us an additional segment right here. So now I'm gonna make this edible, and I'm gonna create a real basic tread for this. Then my points mode. Grab both. These edges just kind of bring this up. It's like that Nereo. Now I'm gonna use a cloner amo graft cloner to clone this tread around this tire. So I'm going to mow graph cloner on drop is Cuban side his Kloner, and it defaults to cloning in the why you could see that I have these three clothes that are cloning in the Y direction. I don't want to clone in the why. What I want to do is I want to change this mode from linear to radio and again, I'll bring this down two inches just so I could see it. Maybe one inch. And now these things are certain. A clone, Really? But I don't like the way that it's cloning. It's not the correct orientation. So I'm going to this plane and I'll change this to Z and why? And now what I could dio is again I want to place this in the center of our attire. So our tires right here. I'm gonna go ahead and copy these coordinates by highlighting the P copy going with my Kloner and then paste those coordinates right there. So now it's gonna clone directly from the center of that tire. So if I go in my cloner object, we're gonna need to bring this down, So let's try 0.5. Okay? It's getting a little bit closer. 0.3. It's a little bit too much. No, I can't see anything. Okay, we're gonna need to change the rotation of these. Rotate is down, maybe minus 90 degrees. There we go. And then I'm gonna increase the count's to create a bunch trends they're gonna hit, render instances for faster renders, and I'm gonna adjust the radius right here. So let's try point three eights. Maybe a little bit smaller. 0.37 So now those were getting closer. Still sticking out way too far. Maybe 3.6 times radius. And that's looking pretty good so far. And I'm gonna texture both of our treads tire and the way they gonna texture these is going to go into the window content browser. First thing in the search for is chrome. I don't find this crow material DoubleClick. And for this rim, let's go ahead and rename this rim. Grab his chrome, You're on top of their And then I'm gonna go into the counter browser again in a search for some sort of plastic or rubber. Rather, I'll search for rubber. Here's a good rubber DoubleClick and then I'll drop this rubber on treads and on our cylinder. Okay, so now we hadn't Styer. Obviously it's taking a little bit longer to render if you want o make the renders go a little bit faster. I would go into this rubber, maybe get rid of this bump a little bit. And what we could do is we could bring down the roughness of this reflected since so it's not as rough, and that will help out with render times. I'm so you don't have to do that. I just want to make this go a little bit quicker. So now I'm gonna take all three of these pieces of geometry and group these together. I call this tire, and as you could see, this axity is not directly in the center of this tire, which we're gonna need it to be later. on if where everyone anime this. So I'm gonna go out this actually tool right here. I'm gonna highlight it, and then I'm just gonna move this. So it's directly in the center right here. And right here. There we go. Then we're gonna go. Then we can go into our front view. Make sure that centered again. Perfect. Get out of this, Actually, Tool. And I'm just going to duplicate these tires in front. So we're gonna hit hit command C command V on the keyboard. Pull this tire over. As you can see, these, these front ones are a little bit smaller. So what I'm gonna do is we're on my scale. Tool scaled it down a little bit. She got a place, and it looks pretty good. So now I can go on my front view and push this over. I grabbed that tire Command C Command be and push that over to the other side as well. Okay, so I can grab all three of those and group those again, call his tires, and then save our scene 6. Bottom Trim: So now if we look at our rendering or notice that we have this little trim piece on the bottom of our car So that's the next thing that we're gonna create eso If we're going to hear, I'm gonna take my car. So provision surface and hit Command C Command V on the keyboard. I turn off my 1st 1 by holding down option and click in his two little dots and then that my duplicated one. I'm gonna make this edible. I grabbed my spear. I could turn off the rest of the stuff as well. Grab this and then I'm gonna select in my line mode. Just this bottom Lupus fear. So we go select loops election and we click hover over this until we see it highlighted. Click that. And now that selected, I can go into mesh commands edged displaying. So now I get this plane right here. What I'm gonna do is going to appoint mode, select all of my points on the spine, and then I'm gonna right click, click, create outline. And if I hit, apply on notice that you know this default value is way too big. So what? I'm gonna do is any type of some sort of value 0.0, to apply. And that one works for this. So I'm gonna take this inner set of points and just kind of skill those in a little bit. So during my scale, tool and just bring those in. You can go in my perspective. You I think that's pretty good. Okay, so now I have this planet can delete the sphere, turn our car back on. And now all I need to do is grab an extra nerves and drop this slime inside this extrude The default is that Is that extremes in the Z direction? So what I'm gonna do is I'm gonna highlight this zero this out, and I want extreme this any Why? So if I type in one inch, that's way too much. I could start bringing this value down five. It's still too much if I go inside of you, I could just use that as reference. So how about we try 0.2? It's getting closer. We go to point in one, about 0.8 0.0 aids, and that works. Okay, so now I'm just gonna name this bottom. Trinity's trim extruded And what I could do was I could take this chrome and just drop it right on there as well. All right, so now we have this little trim we can go ahead and save our scene. 7. BP UV Edit: So now we're gonna get into body paint, UV edit and start texting this model. But before we do, I want to take this car symmetry, and I'm gonna make that edible, okay? And then you grab this spear, taking out of there and put it back as a child of this subdivision service. All right, so now let's go ahead and go up to our layup and let's choose body paint. UV edits. All right, So the process for this, the very first thing that you want to do is go to the paint set up wizard, which is right here. So click that. And now the only thing that I want checked is the car s D. So I'm gonna uncheck my wheels and my wind up next, believe this at the defaults and for the width and height and type in 2048 by 2048. And just leave the color check for now. It finished and closed. All right, So now what? We could Dio we can go into these polygons. We'll have to unfold in, select their car. So right now you could see that these polygons are starting to unwrap over here in this window, we could select all these individually. So I'm gonna keep this pretty pretty simple if we go down to this projection. So it's you be wrapping tab and projection and will select all of our polygons. Let's uncheck only visible omens, and now we have all these selected. So there's a bunch of different projection methods that you can use for this. So if you do spear, it looks completely different. Cylinder frontal, flat cubic cubic to. And with these, you know, it might be different for your model. You might want experiment around with this to see what? What's gonna be the easiest method for your paint paint on? There's a box projection and there's a shrink projection. So for this particular model, I'm just gonna use the shrink projection because it's pretty soon. It's symmetrical, and it's really easy layout Teoh to figure out and a paint on, and it will make a lot of sense and Photoshopped ones. We export this all right, So with all these selected, let's go to this brush tool and when a deal is just, choose a really small brush, anyone in my colors going to choose a black color, go back to my polygons. And now I can grab all these polygons and scale these up just to kind of fill a little bit more of this space. And now let's go to layer, Create using mesh layer. So now if we go to this layers, tam, you'll see de select everything. Now you'll see that I have this. You be mesh layer, and that's gonna come in handy. Um, when we get in a photo shop so we could see where all over you these are. So at this point, I would reference my my drawing, and then I would start painting on here where I wanted all my windows, my trim and all my arrows to be in all that stuff. So the way that I would do that, it was go down here and I would create a new layer and I'll just double click and I call this reference and then I go to my brush tool. I'll select some sort of color. So right now I'm gonna paint in the windows and then I'll just both this up a little bit the size and I could paint directly in this layout right here So let's go ahead and figure out where our windows need to be. So if I go into here like her again, so our windows, they're gonna be somewhere around here. Yours might be a little bit different this so I'm just gonna give myself a really rough outline. So I know in inside of, ah, photo shop where everything is. So here's my window. Maybe this front window. It was, like, right here. Never. Just around this off over here on the side, something like that. And this this could be super loose as long as you just you can understand where all your lines are right here, because this is what we're gonna be looking at inside a photo shop, right? So again, I'll just go in here and kind of loosely paint this in. There's my back window. I'm gonna come back and just sort of paint that in right there. So what we can do is we can go in here and just give ourselves some sort of notes, your windows, right. And as we paint here, we're also gonna be painting here on Are you the layout? So the next thing that we could do is probably give ourselves some indication of where this trim needs to be. So if I come into here, I know there's gonna be a trim peas right along this, and then we can make this a little bit bigger. There might be a trim pieces right here. Maybe we have some additional trim pieces right here. All right there. All right. So what I'm gonna do inside a photo shop is that I'm only gonna paint in half of this, and then I'm in a mirror that so it's really not necessary to paint on both sides of this model unless you have something that's not symmetrical. And then the last thing that I'm gonna do is going to give myself a reference for where these lines need to be because I have a little bit of lines that are drawn in here in my reference sketch. So again, I go in here just kind of paint that in paint another line right there, give myself one last line, and this again, this is super rough. This is only for our own notes, in our own reference inside of Photoshopped, once we start paying this. All right, so there's our lines. If we have anything on the hood, we can come in here and say All right, Well, maybe right here. I'm gonna have a break for where the hood is. Maybe I have some sort of grill in here. I want to paint in inside a former shop. So again, that's gonna give you this reference right here. And I could see where those lines are approximately, and then I can tighten everything up later on. Okay, So with this, with this texture created, the next thing that we want to do is go up to file and save texture as tiff. PSD layers are fine, and I would get specified a path for this. So this is Matt Color. We could save it into our textures folder and save 8. Painting in Photoshop: So now when we open over a file inside of Photoshopped, you'll notice that all the layers were created in BP, UV at it. And cinema four D are all right here in the later stack. Right? So what we're gonna do is we're gonna use these as reference so I could take my reference layer. I could just bring down the opacity slightly, and I'll just like this layer. And then underneath that, I'll get a new layer call this base color. So I know I want my basic color to be read. Nice click. The I chose a really saturated right here. I'll hit G on the keyboard and then just choose the paint bucket tool and go ahead and fill that layer with this red. The next thing that I'm gonna do is going to start creating some sort of trim piece right around here. So I just call this. I'll create a new layer, we call this trim, and now what I'll do is I'll come into here. I'll choose my elliptical marquee tool, you know, create some sort of mark he right here that lines up right with these lines. All right, so I can right click on this and I could say transform selection. Juman. Make sure that lines up here and again yours might be a little bit different than mine. This would. This is just what I find is working for this model. We'll bring that all the way out here right there. DoubleClick Tech to apply that transformation. Now, what I'm gonna do is I'm gonna select a white color for the foreground, come up to edit, and I'll say stroke in this time. I mean, struck this on the inside. Let's try a 15 pixel stroke. There you go. So now I have some sort of trend for those windows. And then what I'm gonna do is I'm gonna create trim to layer. Now, what we could do is coming to here and hitting p on the keyboard. That brings up this pencil. So right now I can go go through and creates a more trim right down here. Just following along kind of close toe. What I painted inside of beep you, they you, the edit. And I'm just creating this line that lines up with these a little you ve mash lines. So right now I have this path I'm gonna hit be on the keyboard. And again, I'm gonna make sure that this size let's since 15 pixels years might be a little bit different. And with this brush tool, I'm going to go into this paths and I'm just gonna click this little icon down here. That stroke path with brush and not what happens is I get an additional piece of trip. All right, Now continue going back into these layers. What I'm gonna do is going to create another layer above this base, knock all those windows, and now all I all I need to do is pick some sort of blue color for the windows, not coming to here, and I'll start painting underneath this trim. So it's pain all the big areas in first. And right now I'm just painting on half of this model because later on, after I get everything created, all of my paint and all of my trim and all these little stripes that I'm gonna put in here , then I can go ahead and I'm gonna flip that and make it symmetrical on the other side. Let's go ahead and paint that in Go. Here's our windows on 1/2. It's a new painting, and right now I'm being really rough with this, you know you can get get in here and get super super detailed and make sure everything lines up properly. So one of the things I like to dio when I'm working in BP you be at it is I like to work back and forth from Cinema 40 and Photoshopped. So go ahead and paint in a texture, something like this. And then I'll turn off my reference and my UV mash. And then what I'll do is I'll save this out. I'll jump back into Cinema four D, and then we could change this layout to standard or start up. And right now you'll see that we have this new material created, and that's the material that we created out off BPU the edit. So if we double click this, we can call this car. And now, in the color Channel, What I'm gonna do is I'm gonna re link my saved image. So I go here, Matt Color, we could just say yes. So now what's happening is we could see a really nice preview of this texture that we just created, right? So if you take a render, I could see all those colors are starting to show up. All right, so if you go back into photo shop, we continue painting on here, so I'll turn my reference back on by UV mash layers back out. Now, what we can do is we could paint in some of these stripes right here. All right? So if I title this color, I have this yellow color right here and again. I couldn't go back in here and not going to start painting some of these arrows. So I just created path where those areas need to be going to hear. So let's say that stops right there. I'm gonna hit be on the keyboard, and I'll just resize that by coming up here instead of 15. Maybe these could be something like 10 pixels, you know, with that path. So, like that we could go into paths and just stroke that as well. All right, so now oops, I did it on the road on a wrong layer. I should have created a new layer and call this lines or something. You are Call it something district. Descriptive. You know, go ahead and select that path and go ahead and stroke That not going to create an additional path here for my next set of lines using the pencil, you know, hit beyond the keyboard for my brush, going on paths and struck that next path. Did the same thing for the last one. So create my my path for this. I'm hitting beyond the keyboard again. Paths stroke that and I'm gonna test this out one more time. See what it looks like inside of cinema four D. I'll turn off my TV mesh and reference layers, and then I'm gonna just save this up, jump back in the cinema four d going to my car, texture. And then I'm just gonna reload that texture right here and now our stripes air. So starting to show up right here. These are a little bit often we might need to go back in here and kind of tweak some of this stuff. I'll let you go ahead and do that. So once we get everything it created that we need inside of these layers um, so we'll need to go back in here. We'll probably add some Seems for the doors will add some additional trim right here for these windows. Would that probably add, like, seed? A steering wheel, something like that. Inside the windows, a little bit turned out an opacity. But once we have everything created, what I'm gonna do is we're gonna grab my lines, my trim, my windows, and I'm gonna just put it inside of a group when I just call this beside one, and they're gonna take that and duplicate it, and I'm just gonna go at it. Transform. Flip horizontal. Now that's gonna flip it. I'm just gonna drag this until it meets right here. I could turn these two off where we dio. All right, so then I could save this out again. I could go inside of cinema four d. I can Really that texture again. Okay. And now we're getting some symmetry on this. Okay, So let me just show you the final one that I did. So here's what my looks like. I went in here. I added I added these headlights. I added this little strip that came over here, uh, additional seems more trim. A steering wheel on both sides, a little bit of a seat really mirror that kind of thing. Kept it real simple. Right? So then I would take that, and I would link that up to my model. 9. Environment: Now that we have our texture created, what we're gonna need to do is go into our material node and just re link this texture. Yes, you could drop us on the car. There we go. So now we have a texture on our car. A ticket render. The other thing that I did with this texture is I went into reflecting its let's go ad reflection legacy. And I'm just gonna take the brightness down a little bit. So we have some reflection on her car. So now let me take a render. We actually don't see a lot of reflection because we don't have an environment to reflect. All right, so we're gonna go ahead and create that next s So the first thing that I'm gonna do is create a background object background, and I already have this created, but I'll go ahead and created again, uh, double click. I created new material. Call this back. And in the color channel, I don't want any reflect INTs in the color channel. Go to my textures and I'm gonna load a radiant Not for this radiant Going to choose a circular radiant and just flip these two colors so it just kind of great dates out from lighter to darker chooses but darker color. Just a simple Grady. It like that. It's going to take this. I'm gonna drop it on my background. So when we take a render, we get his dark background with this been yet going on, we could probably change this last color to no, make it as dark, so it's a little bit more subtle of a vignette after that. What I'm gonna do is I'm going to create a floor. You drop the same material on this floor and with this material selected, go down the projection method and I can dio frontal and then all right if I take a render right now, you could see we get this line here. So I want this seamless background. I'm gonna take this floor cinema four D tax compositing tag, and I'll just check compositing background. So now what happens when we is? We get the seamless background. So now we can go ahead and at a sky to this I come up to here at a sky. Now that sky's gonna cover up that background. So what we're gonna dio is we're going to create a new material that's right here already have a created but I'll create a new one to show you created him a two year old by double clicking on call this HDR I I'll turn off reflections and in the color channel important HDR I average so this one is from Grayscale gorilla imported here and then I'll just drop it on my sky Enough Take a render You could see we get all these reflections back in your car But I want to get rid of this guy Saw it on CNN my render. So what I'm gonna do at this point is right, like cinema four D Tags again And I'm just gonna uncheck seen my camera and now I get the seamless background and get these really nice reflections in our car. An easy way to find HDR images is content browser And if you search hdr I you could find a bunch of a bunch of them in here. So there's a much folders. There's cloud images, their streets, game cityscapes. There's interior images out there landscaping. So if you don't click this, you get a new node inside of a simple 40 and you could drop that right into your sky 10. Lighting: So the next thing that I did for this car was duplicated my texture a few times. I changed around some of these colors to create some variation. So three different textures. And then I went into cinema four D. I duplicated each car, and then I duplicated each material and place. The different material for different colors on here also went through, and I created some additional detail in each one of the cars. So I added this grill number a little bit of a hort hood ornament, this little intent and 10 a back here, some handles. So whatever makes sense for your seeing, go ahead, model that stuff. At this point, we'll get started with adding some lights. So the first thing I'll do is I'll add an infinite light. And if I lift this infinite light up could see it's pointing really far back. So I just grabbed this little node. Appreciate. Closer to the camera, you're closer to my cars. I looked this up a little bit and I just rotate this down something like this bruited this way. Now I can go to this infinite light, so like some sort of yellow type of color, some light yellow, and then I can eight enable ray trace. Hard shadows are going to my shadows town. We'll choose a some sort of blue light or blue color from the shadows. Spring down, Assassinate about 85%. Take a quick render. Okay for these renders, I'll just take this out. Put down to, like, 500. Just goes a little bit quicker. All right? Maybe this this light needs to He brought down just a little bit more or angled out. Rather, I'll take another quick Orender that's looking pretty good. So now I'm gonna add a few fill lights to this so I'll just call this 1st 1 feel underscore light going to the general settings for this. Maybe I can choose some sort of orangey type color filleting back here. If this up a little bit, place it a little bit closer to this car, and then I'm gonna take this command C Command V duplicated over time. Another feel like back here. Maybe this one's some sort of blue color. Let's take a quick render. See what that looks like. What kind were getting a little bit of yellow or orange? Right in here and see a little bit of blue back here. That's looking good. All right, so now we're gonna set up some camera views. So all that created camera, I'll look through that camera. Let's set up, you one. If I go into the camera composition, I can enable a bridge. I want to use the rule of thirds for my right composition. So that's looking pretty good for one view. I'll protect this camera position by it. A signing, a protection tags in this camera. I'm gonna create a second camera. You can create as many cameras as you want. Depends on how many how many renders you want todo united to create another camera from the opposite angle. Something like this. Up with this number one, Right. Were this this great intersex? And that looks pretty good. So I protect that as well. Cinema 40 tags protection. And now I need a group. All these cars together just by right clicking group objects on top of that null. All right, click cinema four D tags and add a compositing tag. Now for this object buffer, I'm gonna able object by for one that's gonna make it a lot easier to select these cars inside inside of flora shop when we render him up. So now let's go to our render settings output. We can I'll put it. It's bigas you want. I'm just gonna do 2300. You could do 1215 2000 however big you're gonna need it and then save. How do you first I go Altai pass all type as button at image layers and then I'm gonna add additional object buffer And I want to make sure this group by the corresponds with this car's object buffer I D. Which is one. And the last thing I'm gonna do is I'm gonna add ambient occlusion. I will add some global elimination to the scene, go back to save, specify a safe path here, specify name and then when you're ready, just at the render button and wait for that to render out switch views, change the file path name and then again, hit that render button for a second viewer. Third view whatever, however many what reviews you want to render out 11. Post Production: So now we can open up our multi pass renders inside a photo shop, and we could see we would get these look a lot different than they did in Cinema four D. So what we're gonna have to do is a bit of compositing. So let's go through and just delete the layers we don't need. So these two layers we won't need. I'm just sitting delete on the keyboard in these three top players we know won't need. I'm gonna take my ambient occlusion, Put it up here. We're gonna put my shadows up here. And now what I'm gonna do is that, you know, double click this. Rename it the fuse and I'll take these three layers. Put him inside of a group just called a small type ass. May I add a layer mask to this? Going to my channels and command click that object buffer that I created. So now I'm gonna take that object buffering go select in verse and I'm gonna paint away. Make sure black is my foreground color. Paint away all this background information. I command you to the select. So now I'm going to create a new background layer just call us back we're gonna do is we're gonna select darker color right here for the edges. Well, the X on the keyboard to toggle the front and back. And then I'll hit G and go into my Grady in tool Select A circular radium underst rang out to treat that Caridi in. Looks like I missed a little bit right here. So just go back in my layer mask, they could turn on my shadows, my ambient occlusion, his ambient occlusion is looking pretty dark, so I could just turn that down just a little bit. So if we go back into our multi pass layers, maybe we could play around with some of these to get a different effect. So if we wanted this to be a little bit lighter, we could just duplicate this blood global illumination layer. Here's our reflection. Maybe that's a little bit too much of that global elimination. Turn that down slightly and reflection. If we wanted more reflection, we could duplicate this. That makes attend a reflection or if it's to reflect, we we can always take this reflective reflection layer in, turn it down slightly. All right, so now we can kind of tweet this a little bit. So now what we can do is we could take this and start adding some additional postproduction to this. So if I hit command A on the keyboard, that's elects everything. And if I hit command shift see on the Mac and then command V, that's gonna copy everything to a new layer on top. So I'm gonna call this blur, and then I'll come into my filter blur onto a Gaussian blur. And maybe we could just kind of bump this up. We're just gonna simulate some fake that the field here. Morning interview here is add another layer mask. I just want these as as we received back, these cars get a little bit more blurry. So add a layer mask your G on the keyboard again. This time I'm gonna choose a linear Grady. Um, and then now you're headed it, and at a little bit of Grady into this. So now you can see that this car is in focus. This one gets a little bit blurrier. This one's really blurry in the background is kind of faking some of that so I can even go back in here And if I wanted this car to be completely and focus, I could just paint with black right out of here. You know, something like that. And now we can add a little bit more post production. So if we want to add some lighting effects, we can add any layer on this. Call this light now, just choose a light color here. Would you like a yellowy orange Technicolor and emphasize this first car? What I could dio is just kind of pain in some light right here. And I could change this. Maybe to an overly blend mode. Bring this down just a little bit. So now we're getting a little bit more variation in lighting on this car and maybe we want oh, at another one and maybe wanted changes color to some sort of blue. Maybe add some blue back here with this unknown late blend mode. We could bring down the opacity of that a little bit. It's kind of giving a little bit more variation, make it a little bit more originally interesting. We can add an additional border if we wanted to. So if I create an additional layer and call his border maybe I'll choose some sort of color from inside of here. G on the keyboard. Go to my paint back into will fill this and I could change this and multiply. Bring down the opacity and later master that I'm hitting em on the keyboard to get this elliptical marquee. I'll draw work here on here. Select Modify, Father, I could further this, like 100 50 pixels and then with black is my foreground color to go ahead and paint away center of this and maybe this is too much. So I just bring this down just a little bit more. Okay, so now when we get on board or done, we can change some of these colors if we wanted to. So if we add some sort of curves to this on, then we come into the individual channels. So if we wanted Teoh, add more lightness, we could just bump up the the center of this curve. We wanted to add more contrast, Weaken, you know, take this black and kind of push it over. So now if we go into, let's say our blue, we can add a little bit more blue to this, like in the shadow areas, we can come into our red. What if we add a little bit more red in those mid tones? Kind of give it a little bit more vintage e. Look, maybe that's a bit much. We can take down the opacity of these curves just slightly, and that's our final image. Thank you so much for watching.