Intro to Cinema 4D: Build a Snowman | Pixl Pyro | Skillshare

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Intro to Cinema 4D: Build a Snowman

teacher avatar Pixl Pyro, AE + C4D Teacher

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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

12 Lessons (1h 45m)
    • 1. Class Intro

    • 2. 1 - Interface Overview

    • 3. 2 - Starting the Snowman

    • 4. 3 - The Hierarchy Structure

    • 5. 4 - Intro to Spline Modeling

    • 6. 5 - Building a Set

    • 7. 6 - Lighting the Scene

    • 8. 7 - Adding Materials

    • 9. 8 - Sun Light vs. Physical Sky

    • 10. 9 - Materials Continued

    • 11. 10 - Rendering

    • 12. 11 - Final Output / Image Editing

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About This Class

If you're intimidated by Cinema 4D and don't know where to start this class is perfect. I provide a quick walkthrough of the interface and reveal more powerful features of this amazing program as we set off building a snowman and this winter scene:


This class covers:

  • Using primitive shapes with no polygon modeling to create a snowman
  • A basic intro to Spline Modeling to create the twig arms
  • Creating and applying Materials to the models
  • Using a Bend deformer to create a studio backdrop (very useful for product presentations)
  • An intro to Lights in Cinema 4D
  • How to use the Sun light and Physical Sky to light a scene
  • Adding a Camera and framing the shot
  • Using the Physical render engine and Depth of Field to get photo-real camera blur
  • Editing render settings and outputting a file to be edited in Photoshop

After this class is finished, you'll be very comfortable with how Cinema 4D works and able to start diving into your own projects!


Meet Your Teacher

Teacher Profile Image

Pixl Pyro

AE + C4D Teacher


I've been using Cinema 4D and After Effects for over 10 years, moving from a hobbyist into a career as a Senior Motion Designer for a post-production company. For the last few years I've been teaching Cinema 4D and AE at the VCU Brandcenter, an advertising graduate school in Richmond, VA.

I teach Art Direction and Experience Design students how to use 3D graphics and C4D to execute on their product innovations, brand campaigns, hotel lobby redesigns, inventions and even a KitchenAid line of sex toys. 

I believe motion design and 3D graphics are the most powerful tools for executing on your imagination, creating compelling art, and selling your ideas.

I want to help you get there. 

See full profile

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1. Class Intro: Hello, skill share. I made this class on cinema four D for those of you with little or no experience in this program or in three D graphics in general, and I wanted to start something that was very bare bones from the very ground up and in the class. I'll start with a general tour the interface before we start making the snowman. You know, just using polygon primitives like cubes and spheres and then any sectional introduce more concepts and features of cinema like spline modeling materials, lighting def Former's in, you know, sun lights and physical sky objects and render settings until at the end we get something like this. This is a very comprehensive, bare bones course, and it should be just enough to get you comfortable with the interface so you can start making your own things. And having said that, I'd love to see you posting renders in the Projects tab at the end, and in the meantime, let's get started 2. 1 - Interface Overview: okay in this first section, I just want to go over the general interface of Cinema four D, and we're going to start using primitive objects, and I'm gonna go over a little bit of navigation shortcuts and everything. First thing I want to show you, though, this is gonna be a file inside of the project's tab in the scale show class. This is a pdf E book that I made. Um, it's like a reference. Basically, it's a reference. Pdf for cinema 40 and it's got some shortcuts for navigation. If you have a three button mouse, this is how you would navigate left middle and right amount mouse buttons. If you use a track pad, you and end abusing 12 and three plus the left mouse button. And there's also a couple other ah, really useful shortcuts, especially that e r T move rotating scale which were right here. These tools Ah, design his e book. Teoh show you really just to get off the ground really quickly. Ah, in cinema 40 because it certainly can be overwhelming initially, But, um, you know this pdf is really here. Teoh, Just explain some of the initial icons you'll see in the interface to be very useful. And I do think that it's laid out very well, very smart in the way that has been organized. Um, and once you get acquainted with it, I think it will make a lot of sense. So anyway, this pdf e book is available in the project tab. One more thing about navigation. So if you don't want to use a track pad or a three button mouse, there are these navigation icons in the View port right here. And I'll show you that, too, when we get into cinema. But I just want to show you this. Pdf the beginners Bible, and I hope it helps you out. So let's go into cinema. So here is the default view. When you open up cinema 40 for the first time, there are in this drop down at the top right here. Lay out. There are different ways of laying out cinema four D. Based on what you want to dio like. One thing you could do is for sculpting. This is very useful for creating very high, detailed polygon meshes, um, for modeling all that kind of stuff. And so the standard layout is what opens up by default when you open up cinema four D. So up at the top are the life selection tool. Different types of selection, uh, tools, lasso rectangle, polygon selection that's useful for, you know, selecting objects in the scene. You have your move tool, your scale, tool, rotate tool. And then this is a menu for previously used tools. You can access X, y and Z, and so keep these turned on. That means that you can you can lock or unlock, um, moving or scaling or rotating objects in these directions. And so, by default they're all turned on, which means they're unlocked. I do that. That means his lock in the Z direction. You can't move an object in that direction, so I just like to keep those on this is world and Object coordinate system. I'll explain that later. These air render buttons render seeing this is a menu for different rendering aspects. This interactive render region is really helpful. This is the button that you're gonna push when you want to make the final render to. And then here are your render settings and by default had said to standard renderers. This is where you would set your frame size in the safe section. That's where you would set the file type and the file path to save when you're under, we'll do that more later. And then right here. This is very useful. So this is the first thing we're gonna start messing with these air. The polygon. Primitive objects, basically. So a primitive object is the beginning building blocks of a model. And you have all these objects right here that, uh, pretty much anything in the world can be reduced down. Teoh A combination of these objects for modeling and like we're going to do with E Snowman . It's just gonna be a collection of spheres at the beginning, and then the carrot will be a cone. The eyes could be either a sphere or even an oil tank, which is very useful. And, you know, we can go. We can reduce the world into these basic shapes and start with our models. From there, that's you're probably gon primitives. So these are your spine. Primitives on the spine is just a three d line. See if I just select this circle spine and drop it in that's what you get. It's a three d line, and I'll use this navigation right here. To go around the scene like that is this. So you would have. Spline is and it doesn't render because there's no volume technically on this spline. It's just a line in three D space anyway, so I'll select this circle. This is your objects menu, and I select this circle and just deleted for now, we'll get more of this later. Is it on the menu for spline modeling objects in the subdivision service object, which used to be really helpful later on in polygon modeling, this is the menu as other things which you don't have to get into right now, these air all day formers this will be helpful will use a couple of these did formers, and I'll show you that workflow and how to use them. These are environment objects. So if you drop a floor in in this scene, even though it looks like it, it ends right here. It actually goes on to infinity. Um, and so it's a it's an infinite floor. You can drop in. I'm gonna delete this. We've also got a sky object which is actually basically an infinite sphere. Um, it exists a very end of the scene and you can't get outside of it. That's good for mapping 3 60 panoramic images to other things that are useful. And then the camera objects, which will be using to in this no man and then lighting to these air where you drive your lights in. So it's all very helpful, and I'm in. Our 19 is what this version is, but where all of these things are going to be useful in any version that you use in cinema four D. So that's a basic description of the interface at the top. You have these down here, we'll get into this is your material editing window. See, if I double click in this gray area right here, I can actually create a new material, and we'll get more into this when we get into making the snowman and adding snow materials and everything. But this is where you add your materials with color and reflection and transparency and everything. That's where they're gonna be. That's where there are. They live your materials. This attributes window is gonna be very important. It basically shows all the options for any object and tool or fact or two former and you're seen. There are options that get displayed right here. So that is a basic intro to the interface, and in the next one will start building the snowman. 3. 2 - Starting the Snowman: Okay, I start building a snowman. So first of all, we just go into the problem Primitives menu right here. Hold down, and we'll just drop us Fear in the scene. I'll be using the all button in the three months three button mouse navigation to get around the scene. So I'm holding down. All right. Now, I'm using the middle mouse button to do this. The left mouse button to do this and the right mouse button to do this. That's the way I feel. Like it's the easiest to navigate. Okay, so now I have a sphere. That's great. We can use the move tool like this to move it up. And well, just for now, we'll make this the ground, but we're gonna actually add a ground in another section. But I'm just going to start with a basic, uh, snowman shaped and will make the snowman that will move on. Okay, So is the the other nice shortcut. To make a copy of an object is really just to hold down command or control and drag. And you can see that icon showed up and I just made a copy of that sphere, and from there this yellow dot right here is actually a handle for the radius of the sphere . It's a visual handle. So I could just grab this point and change it like that to change the radius. And you can also see in the attributes of the sphere there's the radius field right here, 39.37 inches by default. And, oh, also real quick. If you don't have inches displayed and you would like inches display, let me show you where to change that. You want to edit preferences inside preferences. You have a units section right here, and then you can say unit display and typically a set two centimeters. You can see how it changes automatically. And then I just changed it two inches. And now I have a better idea, uh, of scale as an American. So got that. You can use this interactive lee to change the radius. Or you can just go in here and type in whatever you'd like to make that radius. I was its way to humongous. I'm gonna bring this down about like that. You start with that as the middle body of the snowman in a little bit smaller Okay, Great. And then we'll actually just bring it down a little bit. So it's Yeah. There we go. Got that? Hold down, Commander. Control again. Drag up. Move this down! And we have a snowman. We have the body of a semi real quick. It's great. And so now when they're objects Menu, there's everything in the scene that will be listed is listed right here. And you can select the objects like this and you can see how they change right here. They also change the attributes right here as well. You can also double click the name right here and rename, which is great. You've also got this is important to know these green check marks are there. And you can do that to hide the objects. This only works when there parametric objects, not polygon objects. But for right now I could just stick with the Parametric objects. Parametric only stands for that. It has parameters. Basically, that's what it means as primers that could be changed. Um and then a polygon object is just on object made of polygons points airlines. That doesn't have any parameters anyway. So you have that green check Mark, You've also got these two dots right here which being really important so you can hide an object it with the top dot This is actually hiding it in the view port, which is right here. This is the view port. And if I click it again, don't come back. You have a green check my wishes and override basically, and then you have the red that hides it. Now, the reason why I didn't disappear using this bottom dot is because this is actually hiding the object in the render view. Well, this one is actually keeping it hidden in the view. Poor view right here. So you have two different versions, so I can actually keep it hit in. I can keep it hidden in the view port of you like this. But when I hit render, which is right here, it still shows up because it's not hidden in the render view. It's just hidden in a view. Poor view. That's why there's two dots that's really helpful. So you got those are really important in the object menu. This is the phone tag. Don't worry about it. It gets added automatically. It's very helpful. Okay, Someone, body good. Now you can go into the primitive menu again Well, at a cone for the nose. And I can go into the rotate tool right here, or just hit our to rotate this cone. Now, I can go like this and you can see how the degrees are displayed of the rotation, but I want to get exact. And the way to do that is it. Once you start rotating, you hold down shift. It'll go in 10 degree increments like that. Perfect. But it's not gonna work if you hold down, shift and rotate. He has that. You have to start rotating first and then hold down shift. That might be frustrating for some people, so I just wanted clarify. Okay, so it's rotated. We can use this handle right here to set the radius of the bottom in the height right here like that. Use E for the move tool. Move it into the top and we have a little bit of a carrot nose right now. We can dio that. Awesome. We've got that gonna do a Let's see. Really want oil tank? Mr Street? What? That is it will be for the buttons. So the oil tank is nice because it's basically a cylinder with around the top. And you can change the amount of rounded nous on this oil tank with that handle right there and then this one is the height of it on the bottom one in the middle handle is the radius of the oil tank, so it's very nice. Very nice thing to have. That's great. We start like that. That's a good button. Rotate that Use E to move for the for this humongous so I can bring this down like that on the radius up. Great. Hold down command or control. Make a copy. Likely rotate this one a little bit like that. Maybe a little bit higher. Actually. Great. More time command or control and drag. Rotate that cool anyway. It's a good start. I went Teoh use. I'm gonna actually use a cube for the eyeballs and I'll show you a little trick that cube object can dio. It's obviously way too big and attributes right here. You've got the ability to just type in something so I'll just do five by five by five inches. That's great. So when around these edges and to do that there's this button right here, this check box. Some people call it fillet. Some people call it, fill it. I call it, fill it because there's two l's. Anyway, when you check that box, it rounds the edges and it gives another set of handles to control that fill it like that. So I kind of wanted to do a charcoal type Look for this cube and just to save time and that be too confusing. I'm just going to use a cube with this. Philip. A rounded edges. I like that. It's a good start. Put that in the head. Rotated command drag. That's fine. It's good for now, it's good. Rotate this. It's a little bit weird because it looks too perfect. Make this one little bigger, too. Okay, the next section will. That's more detail 4. 3 - The Hierarchy Structure: so say I wanted to move this fear and have these go with it. There's a really interesting is a really powerful ah system that works inside cinema four D space on parenting hierarchy, where you can have parents and Children and everything group together. And so what I can dio in this object menu right here is I can actually if I click and drag an object, you can see there's a sideways arrow in a downward facing arrow. Now, if I use the sideways aero, just it moves the object in the list. But if I was going Teoh, just take these oil tanks. What I can do is actually drag these and make them Children of that object, and you can see how it goes inside and kind like in dense inside of this object. And there's not as a plus and minus sign where I can expand and contract what is inside of this fear. That's really powerful. So now when I move this fear that the oil tanks in the buttons will move with it, it's really great. And also, uh, it was there was scale and rotate with that, parents fear So it's a very powerful way of, uh, it's a hierarchy system that's very powerful. It's under the same thing for the eyes and the nose at the top sphere. I can just drag the cone. I can just drive the corner, making it Chad of the sphere in these two cubes as well. And now the top sphere has these as Children. It's very helpful. And I did that because I kind of want to make this more now just a little bit more handmade . I think it to kind of find Teoh. Actually put this a little bit more crooked like that and maybe rotated a little bit like that. And so you can still go in to the Children and move them independently of its parent like that. You like that? It's kind of nice, I think. Also, I just want to rotate this like that little bit up or like, do you like that? Just give it a little bit more life, too. Uh, this snowman, that's a good start. We make a top hat with two cylinders, so I got the first cylinder like that. Now the thing is going on here, which is also really cool about parenting is. I want to put this hat exactly in the middle of the sphere, so I know it's gonna fit exactly on as opposed to trying and trying to make it work in this three d view. That's what I can do is I can drag this cylinder and make it a child of this head sphere right here. And if I go into the coordinate tab in the attributes of the cylinder object that this tells you where, uh, the cylinder object is in relation to its parent, actually, So if I was gonna move this out and make it no longer a child of this fear object, you see how these things change now, when it's no when it's not a child of anything, when it's just by itself. These coordinates are what this object is in relation to the origin, which is the foundational point in the world in cinema, or 000 in the X Y and Z direction. So right now, because it's not a child of anything, it's set to be ah, 136 and something else. Inches in the Y direction away from the origin. Devising a highlight. This hit zero. Now it's exactly at the origin. It's it's access center is like the point. In the middle of the cylinder is the access center and that access center is that 000 at the origin. That's enough. I made this a child. If I go back to the object one right here, make this a child of the sphere again. You can see how all these coordinates changed, because now it's in relation to its parent, which is this fear. And this fear is rotated, and it's obviously away from the origin. And so this cylinder is These coordinates are the distance away from the cylinder. The cylinder is away from its parent, which is right here. And so what you can dio is I make a little bit wider now that it's a child of this sphere doing just rename this real quick head ball and body ball. Okay, so now it's is it's a child. I can just highlight these coordinates and hit zero, and it puts it exactly at the middle of its parent. And it's also got some rotational values to because this, uh, top head is the head ball is rotated, so I can just see her out these rotations as well, and now it rotates, has the exact same rotational values as its parent object. So now I know it's exactly in the middle and rotated the exact same way that head is instead of having to do any kind of guesswork. It's very it's very nice. Another great thing about the parent in aspect of or the parenting system inside Cinema four D. But now that it's zeroed out and I know its exact Aiken kind of just tweak it a little bit to give it some more life. You say that like that, that's gonna be the brim of the top hat, right? Something like that. And now I'll just click and drag using holding on down. Command our control. Make a copy. Move this upward. Do that, Do that. Make that. I'm gonna call this top hat Bram, and then just top hat. What I could do to is making the top had a child of the top hat brim. And now we have this kind of, you know, hierarchical chain going on where this is a parent. This has Children. This is the child of this, but also it has his own Children, too, and that's pretty cool, because now I could just move this in the top of it. Top hat will also move with it, and then I can move the head and everything moves with it. So it's super powerful, and I want to just kind of rotate. This had a little bit. I just think it's, I don't know, Maybe like that. Move it down. No, no, Let me see. It's like that. Okay, So I mentioned earlier, Uh, there's between world and object coordinate systems. So right now it's set to object because you can see that cube in the axis arrows. And that means when I'm moving an object, it's using its own Thea Object coordinate system, which is why this move tool is askew. But if I change the if I do this, continue to a world coordinate system. You can see how the arrows are now straight up and down, and it's matching. You can see the red arrow in this red arrow in this blue in this blue arrow. Now it's matching me. It's matching the world coordinate system, no matter what you're doing with rotating the object or scaling it or anything, it's always gonna look like, um, it's always gonna stay straight up and down like that. No. What? No. What happened is I now in the move tool? It said to the world coordinate system. If I change it to the rotate tool by hitting our, it actually changes back to the object. Coordinate system just for the rotate tool so I could hit the world. Corn, A system for the rotate tool. You can see how even same thing with the is a move tool. The rotate tool takes on the rotational values of the world. And even when I rotate this object, that doesn't change anything because it's set to the world. Coordinate system attention back to the object Coordinate system. You can see how now the rotation tool will rotate as it's moved. So in a way that's you can get a little bit annoying. Sometimes when you rotate something a lot and you're trying to move it around and just want to move it up like, say, I want to just move this object up like I want to move it just straight up, not like at an angle. That's when you can switch over to the world, coordinate system and just have it be rotated like that. But then just be able to move it like that really easily. So it's really important to know. - Great . I got the hat. Got that stuff? Um, in the next section, we're gonna make Cem twig arms. 5. 4 - Intro to Spline Modeling: Okay. Now, obviously, you couldn't make pretty rudimentary twig arms with, uh, you know, cylinders just made really skinny like this and then adding, you know, cylinders at the end and everything to give it little hands. That's true. You could do that. But I want to see you one more different way of modelling. So you've got this button right here, which can change the view port from and you can see right here called perspective. This is the three D perspective in the view port. If I click this, you get two dimensional views in different directions. So you have a top view or front view and a side view or the right view. So this is really helpful to get very precise placements on everything and different perspectives on objects because it can be confusing. You know, to always see things in three D and have to scroll around and make sure it's placed in the right place. Thes two dimensional views. Air really helpful. So I'm gonna go into the right view right here. And so this is like it's called line mode right now is what it's displaying as and right here is a display drop down. You can change the way that you see The view port is is showing. And so you can change it to this one is Goro. Shading is what's called, which is the same kind of shading is in the view poor view. Um, line view can be really helpful, which is lines. So it's invisible, like there's no feeling, it's just the lines of the object. You have constant shading, which is not helpful right now. Quick shading and karoshi ating. Um, and Guero's fine for this. And you also have these other alternates with lines so you can have the shading plus the lines in in the view, and that goes for all of them to which could be really helpful as well. So just so you know, how that works to change them around could be really helpful. But I'm gonna use, um, grow shading, and I'm gonna uses two dimensional view because I'm gonna make a spine, and I'm gonna from that split, I'm gonna end up sweeping across another supplying to make a three D object. It's gonna be my sound confusing right now, but in the second, you know, make a lot of sense right here in this pen tool. Yeah, these different these primitives, different ways of of sketching are making spines. I'm just gonna use the pen tool right here, and you can see how this icons changed. No, I start with that. Just the basic twig, but the main, you know, kind of twig branch. I'm actually gonna a couple points in here, too. I just just right clicked. This is a contextual menu, and I had create point. Just add more points of this twig. So I'm gonna give kind of just a, you know, a little bit of just a general, like a twig type shape. It's organic looking. I can actually go in here, too. And it's like these points and right click and change the interpolation. Right now, it's at the heart interpolation, which means the edges air hard until that more jagged right click and do is south interrelation. I get these handles right. So now it's a little bit easier to, um manipulate and have it look more organic. And I can also like these points of these handles I can, either with the move tool selected here. I have. Even though the move to was showing the life selection tool selected. So if I go to the move to like that, I can actually manipulate the handles of these points is if I would in Illustrator or Photoshopped. But I can also just use you know, the move tool. Definitely. But I can also use the rotate tool to rotate the handles and the scale tool to make them larger or smaller. But so that's really nice to just just to know that. So I've got a little bit, Let's see move, tool Just a little bit like that. Fine, that's good. Now it would be nice is if I could add more points to this and having branch out like this . But I can't do that because of the way that displaying their set up and you can see this white to blue Grady int. It has to be a linear path from the first point to the last point, if I was going to have this planned selected and I use the pen tool and I made a line like this, it's possible for me to select these two points. Right click is a command down here called. Weld had select that tool because he is white. Dots. I can select this point right here and they'll get welded together. At least that's what you think is gonna happen. You can see the grating. It right goes from white to blue, and this also goes from white to blue. This shows this is representation of the order of points from the beginning to the end of the points. Now it looks like I just combined these two lines together to make a branch. If I select this point, I move it. It actually isn't true. It's not connected together. Now what I can do to is if I was gonna something's two points and not use the well tool, the right clicked, not use the well tool. But there's also another command called joint segment. If I did that, what it actually does is it joins this blind in this plan together as one spine, and then you can see because that was the end point of the first line. And that was the beginning point of the second spine. That's why these two points together. So it's not actually possible to make branching spines that we could use to make twigs. We're gonna have to make separates blinds for each kind of twig branch that branches off of the main twig branch. So just undo. You know, we don't think it is nice about Weld at least. Is that looking? Well, these together So that I know the points are exactly the same spot like it would be like a true branch would be. But we're gonna end of using Ah, sweet Bob Jack for this one branch. And this people Jake, for this branch instead of one sweep object for everything will make sense in a second. Go back to the pen tool is the point right here is going to lead to pen tool. Start there. Do that. Well, these together just so I get the placement. Correct? Like that Again, I'm not connected together because you can tell to because of the way the Grady INTs are different. And just for fun, I'm gonna add another one. Read the end like that pen tool like that weld, and bring this one together like that gets a little bit of a branch. That's nice. So now what? We're gonna dio and here sweep object thes air spline modeling tools soup, object and then ah, circle spine now changes radius to five inches. You see how small it is? Maybe even two inches. So any sweeping seen Sorry. Two inches, maybe even one inch. We'll be sweeping this circle along this plein. In that process, it will make a three d object. So I go to perspective. You can show you that process so have dropped the sweep object in right here, have the circle. And these these two are the two objects. I'll be actually no. What would I have to dio is I need to explode these segments So they're all separates blinds, actually, but that's pretty easy to dio when I have the spine selected. Got a mash this drop down And then in this planned menu right here there's this explode segments. Now when I hit that, this plus mark shows up. That means it has this. Fines have been separated out into different segments, or at least every segment has been made in some spine. Basically, which is nice. That's everyone that is just an empty space on delete that. So now we have a splint for each branch and explain for the main twig, which is perfect. So this is the one we're going to start with. I'm gonna make this one a child of the sweep object and the circle like that. Do you know what's going on is the circle is being swept along that supplying, but it's in the wrong plane, which could be switched really easily. If I don't check the sweep, I could show you. So the circle was laying like That's the plane That's existence right now that's oriented toward Zeon the Y plane, and this is in the attributes of the circle object right here. So that means it's vertically in the Y direction and then in late across the Z direction, which is the Blue Arrow. If I change this plane. Teoh accent. Why it changes tax. It lays across the X axis, and it's vertical on the Why X and Z means that lays like that so you can change the plane of orientation for that circle. It also changed the way that the sweep object works, so I changes to Z. Why that didn't work. X y that works. That's great. Awesome! Now that I have that laid out and swept along, that's plein. I want to make this thickness, you know, very Make it look more organic. So I go to sleep. Object. It's usually looks Looks like this. And the attributes. If I expand this details tab right here, there is a graph right here for a scale. Now what? This is right here. This is a line or a spine profile. And what it's saying is the scale of the circle stays at 100% or the exact same across the whole length of the other supply that is being swept across, which is this twig. So if I was going to just and this is the beginning of the line in the end of the line, you guys take the end of the line right here and drivers down to zero. You can see what happens. The scale goes down like that. So this is a profile of the scale of that circle, as is being swept along that twigs blind and, you know, down Commander Control and add points to this profile so you can actually, you know, manually make this kind of thickness of the twig by this doing this spline object right here like that That's a good start. And then, actually, so the spline right here the to explain There are some settings right here. It's a little bit jagged. E. It's because there are enough points along that's profile. The twig spine, too. Make it look organic. No, I did was now in immediate points means the points between the points on this plane. So here's a real point. Here's a real point could be manipulated. But there are gonna be in immediate points between those points, and you can change the way that it is interpolated between those points to make it smoother or more. Jagan and I just by default of said to adaptive, which is nice, that means it means it adapts, seem out of intermediate points based on the curves that are on the spine. And I just turned zero the angle down zero and that makes it more. Makes it more organic looking five degrees is the default. Making it zero degrees makes it really organic looking to now check this again. It looks very smooth. There we go no into the same thing for almost gonna command drag the sweep object to make a copy. But I'm gonna delete this, plein and just add another one in another one of the branches in. That's great. See, what happened is now that I have a copy, this profile has been copied as well. But the order of the points is the opposite, which is not a big deal. What? I can do it just right. Click this graph right here. And we can do flip horizontal like that, and it flips the graph, which is perfect. No, because there are only two points in the spine. There's this profile is not gonna work. So I'm just gonna right click again and create some points along this spline. Now you can see how the now it will change because there's more information basically along that spine, which is great, cause I could just make this little award, you know, like that. - Great . I'm gonna deposit in a plateau, sweep to the other to see in the next section where we'll start doing lighting and materials. Okay, Great. 6. 5 - Building a Set: Okay, so I've applied the sweep to the other two spines, and I wanted to show you something before I will got into Latin and materials. I want to be able to move this twig with all these four sweeps to get together at the same time. And the way I want to do that is actually to add a Noel object into the scene and use that as a way of grouping all these objects together and then just moving the knoll object in the same way that well, we used hierarchy to kind of group these oil things together in the body section, we can use a null object to the same thing. No, no object is just, ah, point in space. And you can add that to the scene by go into this primitive menu and is right here no object. And when he added, all you see is just a point in space, that little point right there. It's right here, the no object. So I'm gonna call this right arm, and I'm gonna place it right at the edge of the twig right here like that. So from there, I can just make thes sweeps Children of the arm of that. No object. Now I've got all four sweeps as Children of this. No object. And so now when I move the no object, everything moves with it. It's great. So I can just put it in the snowman and rest a little bit. And there we go. And nickel part is I can just drag called down Commander Control and drag Copy. And I've now got a second arm, and I'll just rotate like this under some rotation like this to give us some variation. And there we go and uses handle right here to bring it in. And there is the second arm, and I'll call this left arm. Okay, great. There we go. Now the first thing I want to dio is I want to add ah, floor to this and start to make a little bit of a set. And one thing I like to make is called a psych. Also in in studio language for, like, a set. You would call it a psych, which is basically a floor and a wall put together, and there's no seem, it just kind of it fades upwards into the wall. And so you don't end up seeing the corner of the floor where the wall meets. And it kind of gives that sense of, like, an infinite background basically. And the way we want to do that is to use a bend, a former right here in a plane object. So I'm gonna drop in a plane, which is right here in the primitives, and that is right there on the floor and you go to object mode. I can use these handles to expand the size of the plane in the scene. Don't make it pretty big. Actually, do that move backwards a little bit and then I'm gonna drop a bend to former into the scene like that and you can see right there is an object. It's right there and it's his Purple Cube. But in order for this to former too deformed the plane, it has to be a child of the plane object like this. Nothing really happens yet. Um, except that I can go into the attributes of the bend a former right here and in the strength. I can turn it upwards and you can see how it actually kind of bends the plane. But That's not really the way you want to do it yet. What you want to do first, which is really nice, is there's a button right here called Fit to Parent. Now that it's a child of the plane object in the plane is the parent. You can hit this button and it places the bend. A former is the exact size of his parent object, and now you have right here the size of the bend, a former and has taken on the exact same size as the plane object. And because it's a plane object, which is technically a two dimensional object, there's no size in the Y direction, and first thing I want to do from there is actually increased the size in the Y direction like that. So we have some volume to this, and now when I go to the strength field and I bring it upwards, it bends like that and I'll just type in 90 degrees. So you got that I was his not ideal. What has to happen now is need to actually rotate the bend a former so that it bends the plane object and with the Ben the former selected you can go to the rotate tool and rotated 90 degrees like this. Hold down, shift to 90. There we go. Now we have the beginnings of a psych, which is just a floor that seamlessly transitioned into a wall. Now, when I go into the bend a former and resize it a little bit, I'm gonna bring it down in the Y direction, actually, just a little bit. But I think also in the Z direction and the X direction there we go like that and you can actually move this bend a former. Then it deforms the plane object accordingly. To put it like that, this jagged nous right here who he fixed that in a second. But I still kind of want to increase the size of this. Been to former a little bit like that in the Y direction. So there we go and I also want ad increase the size of the plane object. So when I do that, I can go back to the plane object and still in object mode, and I could just increase the size of the plane like that. That's great. More size in the Y direction for the bend a former like that. Perfect. Now, if I go to this play mode right here and change it from karoshi ating to grow sheeting with lines. Now you can see the amount of lines in the plane object, and I'm gonna want to go to the plane object right here in the widths and heights. Segments increase that like that, I can just drag upwards. And as I increase the wit segments in the plane object, that transition gets more gradual like that. Perfect. So that's the beginning of a scene for the Snowman. I'm gonna increase the height segments to, so it's but more even. Okay, great. You got that set up to save the scene. I want to show you one thing to inside file. You have save and save, as you've also got. Save incremental. Now, what that does is it actually creates a copy of the file and then names it sequentially so you can basically have ah, evolution of your seen in sequentially numbered seen files. You see, right now my file name 0001 If I hit save incremental, it makes it 0002 That's great. So I can just keep saving versions of the file like that without having to go in to save as or using saved to overwrite a file as I make more changes going forward. So it and it kind of saves you, too. If you get lost down something or you want to go back to something in a previous version, you could just go back to an earlier numbered file as opposed Teoh undoing or, you know, starting over again. Basically. So that's great. Gonna site built, and I want to drop a light in the scene and start lighting. 7. 6 - Lighting the Scene: The first thing I want to do is show you in the light menu. You have just a light. I dropped that in Get this and by default, the first type of light that you get is and they go on the general tab right here. It's called a nominee light, which means that emits in all directions like a light bulb. That's why the icon is like that, and that's OK if I hit render right here. It looks really bad because there has to be a couple settings turned on for this light to look realistic from the 1st 1 is in the general tab of the light attributes. There's no shadow casting turned on yet shadow set to none. So if I turned, this is shadow maps or soft and I hit render you get a soft shadow, and I can turn on this menu actually right here. If I dropped, I hold this down and go down here to interact render region. It actually creates a window that I can see in the scene in It updates in real time as I make changes. So it's really nice, and this little area right here is the level of detail in the render region. So if I turned all the way to the top, it goes to 100% quality and then elevating it down. It's very low quality, but it renders very quickly. And now if I change the shadow map type to ray, trace their hard shadows, you get hard shadows more like a direct sunlight type of shadow. But now, if I changed it to area shadows, it's actually a mix of both, depending on where the distances from the light to the object and how large the object is and stuff. It's the most realistic shadow casting type, and you see how it starts hard and then fades away to be soft. So it's a mixture of both hard and soft shadows. It's the most realistic. So I got Omni Light that does that. You can actually change the type of light right here to the different options that cinema provides. I do a spotlight. You can see now how you can see how a cone is created from the Z direction, and nothing's happening right now because it's emitting light in that direction because you can see from the cone so if I was going to just rotate this, you see how the light gets cast. And I can actually change the cone angle of the spotlight like this, too. And that's pretty cool. That's a cool way of lighting. But the one thing it's kind of annoying is if I wanted to move this light around, I had to move around like this and then rotate it to get the placement right. I wanted to always be pointing at the Snowman because that's gonna be the, you know, the main thing in the scene, and so it's kind of annoying. I have to move this light around like this and then rotate it every time just to get the lighting right. But there's a really cool thing that cinema provides automatically that does that for you really easily. I'm just going to leave this light and show you eso in the light menu. You have a light and you have a target like drop that in return this vendor region off. Nothing really looks that much different, but you gotta like in a light target, which is a null object. And if I move this Noel object around called light target. The spotlight actually follows it and will always point to it. It's really nice, and I can also just move the light around with the move tool, and it will always point to that target that's being done because of this little tag right here. A target tag. It's just it's gets added automatically when you drive a light, a target light in. So what happens is the light has, if you right, click on this light inside Cinema four D tags Your menu for all these different tags down here is target, so that gets added, and then it creates a no la object that is the target and drops it in the field as target object. So it's very cool, and it makes it really easy. Teoh light your scene very quickly and now, but it because the new light there's no shadows being cast. So I just turned lights to area and you can see the shadows get cast. One thing I like to do to for a realistic lighting is turn the shadows on, but also go into the details tab right here in turn on, Fall off. Did you go to this menu right? here. Inverse square is physically accurate, have a fall off. And what that does is it creates a phenomenon of light dissipating as it over distance and what you can do now, instead of change the intensity of the light to make it more or less intense. You just change the fall off distance by dragging that middle handle, and this is the actual decay of the light. So if I have made it past the scene like that, you can see how brighter gets. And if I bring it down like that, you see how dim it gets. So it's a really easy way of controlling the intensity of the light. Then you have a visual representation of what of where it reaches two I like I like to do to make realistic lights. I always like to turn on, fall off and turn on area shadows, so it's always really nice. That's a good way of sudden your lights up to look really nice. You can also change this color to this, you know, could kind of work a little bit better, maybe like this for a winter type scene. But honestly, like I think, for this, I think we should actually use a late. I wanted to show you a couple of things about the lights and cinema. There's another one. I think that would be better for this scene and in inside here. I think actually a sunlight would work the best if I drop that in. You can see anything really happens yet because the sun is actually set right here. And the way sun lights work in cinema is it actually depends on the rial placement of the sun in the time of day in the year and everything. It's kind of cool because you can actually set up, um, places in the world where this son would work and the actual latitude and longitude of where that son would be. And the way to really do it for me is to just I like to just drag this latitude. You can see how it changes. Same with longitude. You can see how the actual scene will change too. Is it does that if I drink this around, could see where it starts. And I'll actually to the render region on to get this a better idea. Now if I interpret the date I check that box. You can actually use the time of day in year two. Set your, um, sun and just for fun. I'm gonna make it December 20th. And you can see how that sun actually changes to I changed it to south, and now it's switched contagious to east. Change this son to in a general tab. Send us the area. Here we go. Just take some tweaking. Looks nice. Dilly this light and target and just stick with the sun. There we go. It's more of outdoor type scene. That's a good start. Okay, great. We got a sunlight in the scene and in the next section will work on materials. 8. 7 - Adding Materials: well, Susan Materials, first of all, go into just make a snow material for the snowman himself. First you can do is just go down to this material window right here and just double click in the gray area, and it makes it new material, and you can just click and drag and you can see how these objects highlight. And I could just drop this material on the snowman and it's the same material. And so I could just changes one material. It'll change everything that has been applied to a swell, which is really nice. I don't in the head ball. I applied it to the top to the parent objects of everything That's a child is also has that same material, which is actually what I don't want that I want. The top had to be different. So I'm gonna just drag the material tag down into the I don't see just like that. And what's gonna happen is because there's no materials apply to these objects. Yet it's gonna assume that the parent material is gonna apply to all of them. But if I just to show you will make a black material for the top hat. Just change the color. Too dark grey like that. Now, when I apply that to the top hat, it actually changes. So once we get more materials for the for the coal and for the care and everything, Uh uh, this color will change. We got that set up. Okay, so first of all, I start making a snow material. What I want to dio is not double click on the material. And I'm just going to call this snow right here, so we know what it is. It is actually pretty white, even though the color itself in the color channel is kind of a gray. That's okay. That's a good thing you got that. Um when I want to dio first of all, is show you the bump channel. So you've got your color, which is what you can set. You have reflect INTs, which is determining how light in the scene reflects on this material. And right now this is how it's being reflected. These reflections is showing how light reacts to these objects. And this is the default. They call it default speculator. Ah, they gets made every time a new material gets created and person. In my opinion, I don't like this type speculator. I personally enjoy G X, and you can see how that preview changes when you change the type. And inside these four settings right here, you can get a pretty far along in creating a very nice material. And by changing the roughness you end up getting, uh, it's more of a broad type of speculation. Reflection of the objects of you to the ref is up a lot. You get more of, ah, diffuse kind of soft, almost like plastic type of reflection. Turn this down. You'll get more of, ah, mirror like type of reflection. And you can't really see anything going on right now because the reflection string set to zero I turn this up, You can see how that, uh, changes. And it actually this is just a preview. There's not really an image to reflect right now, and you can see a little bit of the reflection going on. It's actually reflecting the shadow and the edge of the psych right now in the material, it turns all the way up. You can see how that adds to it. After the reference all the way down. It's basically a mirror now, and it's mixing this reflection, quality and this roughness with the color of the object. Right now, if I turn this to black, it would end up being basically disappear chrome mirror. But we want to keep it white to keep it snowy. I'm just showing you a little bit of how, Ah, this reflected channel works. I do think Snow has a little bit of reflection, actually, and it be pretty rough is, well, you can kind of see how that changes right here. But what's going to really sell this material that's is snow is the bump channel. Now when I add this, nothing really happens. You have to add a texture to this bump tenant. Now Bump just means it's it's kind of an illusion. Actually, it's the illusion of fine detail on a polygon object. There's many different ways you can add this illusion, but the easiest way to really get a nice bump channel going is to add a noise. When I add this and see what happens. You see how that changes, and that change is now. A noise is really just the procedurally generated, uh, assortment of black and white colors, Really? And it can be any color that you want this between these two colors. You can change this color to be whatever you want but you want, but bump channels are read. The amount of height or the illusion of hype in a bump channel is set by the white value. So white is the highest height, basically in the bump and black is nothing that there's no change. So it's a It's a variation of gray scale values between pure black and pure white that set this bump channel. And right now, uh, the strength of this bomb is set to 20% by default, and you turn this up and down. You can see how that changes. Everything is very stark as the strength gets increased and you can also reverse basically the amount of strength by going below zero. So you can change this like that, and that's actually not too bad right there, as faras uh said in the strength of the Bump Channel. But this obviously doesn't look very good at all, So if you go inside the noise, you can see the type of noise just said noise. But There's, Ah huge list of different types of noise that you can choose from is they're all kind of random words. Hard to see what they actually do without messing around with them. But there's also this tiny little arrow right here next to that. If I click that you have a visual representation of east different noise type, which is easier to see how everything, uh will look. And I think this one actually Luca is gonna be a good setting to start with. And you can see how how that adds a lot of fine detail to your image to your model without actually making anything, uh, physically deforming the object at all. It's just it's the illusion of of, ah, fine detail. Now one thing I want to Dio two is actually changed the global scale and make it smaller cause it's it's too big right now. It's kind of too obvious if I change the global scale and just cut it in half, you can see how that ends up changing the amount of bump and noise on this model. And I'm just gonna turn it down, even even Maurin to 20% and it gets to be a little bit more like packed snow, and even that's not exactly there yet. This is always just a game of inches and just experimentation to get fine detail and to get a look to get it to look right. We start with that. It's at least something there to add some fine detail to the snow. You can see how this looks in the whole snowman and far away. It's not too bad. Actually, it looks a little bit nice. I think there's too much strength going on. I could turn us down to maybe 2% and you get a little better. Looks a little bit more realistic. Maybe even just 3% Got that going to noise? Um, turn this back up a little bit to 15%. There's one thing I want to show you. Ah, phenomenon that is in snow that I think is gonna make it look a lot more realistic. It's called sub surface, scattering breast images up now. Subsurface scattering is the phenomenon of light as it scatters inside of objects. This is actually a model, but the material that's been applied is is orange juice and so you can see how this light scatters inside of this object is it hits it and gives it a very realistic phenomenon that Snow also has. And so I want to show you a way to get that in cinema. Um, and we can add that to this snow, and it will end up making it look very realistic. And first of all, you go inside the luminous channel, clear this out. And this is where you would add subsurface scattering this phenomenon? No, I check this box. This happens which was what it means is now this material is going to emit light out of it has luminous to it. But once we had the subsurface scattering, that'll go away. But it will end up helping make this look really realistic. And the weight and the way to do that is inside this texture menu. Right here. This drop down you go into the effects menu and inside that is where you can add subsurface scattering. No one that gets added. You can see how it ends up. This is the default setting. So it does a little bit of subsurface scattering right now. If I go inside this many right here you can change the color of the subsurface, scattering on one change that color to be like a snowy blue. And now you can see how, as light enters into that these objects blue is cast inside of it, and you can change the path length, which means the amount like the distance. The light travels inside of the object as it scatters, and you can increase it, see how it changes. I think decreasing it's actually gonna be more realistic. Kind like that. I think maybe a little bit more now it's really blown out. And that's part of the, uh, luminous channel. If you change this mixed down, that could help. It can change the color of the Luminant because right now my default will be set toe white like that. It gets very blown out and you can change the brightness as well. We can come back to the, uh to addressing them, the blowing out cause this can also be changed and reflect ints. If I turned down the reflection, strength and the speculator strength, it will help. But it still gets really blown out of and check this even without subsurface scattering. There's still It's kind of it's really bright on this object, and that's because of the sunlight. And honestly, I think I'm gonna change this to a different light anyway, So he turns back on limits and you can see now it's got a little bit of a blue cast to it, which is really helpful to make it look like snow. I'm gonna make this color just a little bit less saturated. There we go. And also thinking about this more. I think, actually, the noise needs to be brought up the strength of the bump families to be brought up, but also the scale of the noise needs to be brought up to, and I'm gonna is gonna change the scale back to 60% See what it looks like. That's okay. Maybe 100% maybe even larger. It's not bad to the strength up some more too. It's kind of nice. It's a little bit more like a packed snow 9. 8 - Sun Light vs. Physical Sky: it's not in here. But if I go into this menu where the floor in the sky object are there's this right here, the physical sky. If I drop this in, it already looks way better. I'm just going to leave this son, actually, so physical skies really cool. It actually shows you there's actually a sky. There's you can add clouds if you want and all that stuff and the other cool part about the physical skies. There's a sun dial that comes with it that gets added, and it shows you the compass, and it shows you representation where the sun actually is in the sky on its horizon. If I go in the settings right here, you can dio inside the basic tab. There's you can add clouds if you want. You can even add a rainbow. Other things we don't really need that we just need the blue sky and the sun. But what I can do in time and location, same thing that we could do in the sun. We can actually change the placement of the sun in time and location and also go back. Teoh the latitude longitude settings like we had for the other son. If I changes, you can see how this changes where the sun is placed, which is great. I kind of want to just add it like that. And the cool part two is I could just go to the rotate tool now the physical sky selected. And I can just rotate this son to place it like that. So now if you go back to the render region, it looks way nicer. I think it actually be kind of cool to have it be more of like a noon, like a a day time high noon type son. So I can just change his latitude to be more directly above Cooper. As you can see, as the sun gets lower to the horizon, the colors change to be more of a sunset type. Look, it's very cool, so I bring it more like that. There we go. That's going to be a pretty nice type of snow with a nice little amount of subsurface scattering. And the next section will add some more materials to the coal on the buttons and the carrot and everything in the twigs. Okay, 10. 9 - Materials Continued: Okay, let's add some, uh, let's to the wood material for the twigs real quick. Double click down here was add this material to the arms. I'm gonna change this window to be just the twig. And really, it's just gonna be what I wanted to actually is use the texture field again, but instead make a Grady in. You can see how it changes automatically going here. I'm just gonna make this just much a different types of brown for the wood That's not bad. Going to reflect INTs. Change the type again to G X. It's good roughness. A little bit of reflection. There we go and change. Just de saturate this brown a little bit. If I change this type from two D u 22 DVD, you can see how it goes vertically and the great actually goes from here. It starts dark here, and then it goes light, and that's nice. That's a good ah brown real quick texture for the twigs. And then it just double click again to make a cold texture for the buttons was gonna call this coal and just make it very dark. I'm gonna add this to the buttons in the eyeballs, too. Once again, Go back into reflect INTs. Change it to GDX from the roughness up and make it a lot of a darker color too. That's more like it. Okay, great. And now, Cara Texture. - Great . That is a snowman. Okay, cool. 11. 10 - Rendering: I'm actually gonna just drop in another public on primitive object that is gonna add some nice detail to the scene. And then we can use the content browser to actually add some really nice trees to this scene, and I'll show you how powerful that is. The content browser is amazing. Here's the first of all. Got the snowman here, Um, go in the primitive many right here and down here is this thing called landscape. You drop it in and it's actually procedurally generated landscape like a mountainous region that you can expand like this with handles in this vertical handle right here actually makes it more mountainous like that. So I'm going to put this right, lay it flat on the plane like that, expended some more right here and in the attributes. You have a lot of different options here that that's really powerful case of the landscapes Late in. I just made a white material real quick. I'm gonna drop it on here. So it's white on the landscape and white on the background. And instead of moving the snowman up, I'm just gonna move the landscape and the plane itself down like that. So Now he's kind of laying on Hey, Snowy Hill, basically, and in the attributes of the landscape, you can change the amount of wit, segments and height segments or depth segments. Actually, then you can also change the amount of rough furrows to increase that will make it more smooth. And the fine for Rosa's well. So I don't want to keep it like that. And then she's in the scale will also make it look more mountainous like that. And then right down here is the seed. So this is like the random, procedurally generated type of landscape. But you can just cycle through that seed, which is just basically a random number, to create this landscape, to find what you like. Kind of like that, actually, and just going, it's like the landscape. Begin in the plane and move it up So the snowman sits right inside of it. Awesome. Okay, so one thing about cinema that's really great is its content. Browser on. If you don't have a content browser downloaded yet and go to help and in here and do check for updates, it'll check it server for updates online, and then if you don't have a downloaded, it will say content libraries then ends up being about nine gigs worth of content that cinema has provided for you is part of the program, and when it gets installed, you can go right to this tablet here on the right content browser. And there's a presets button inside here, and that's where all of the content will be laid out. And I have to do, actually, is. There's a magnifying glass search button right here. If you just select that, you can now type in what you have presets selected. You can just type in things that you wanted search for so you can just search for a tree. And this slider right here is the We'll show the size of the icons. These were all three D trees provided inside cinema, and there's actually a really nice one for tree snowing. No, I just double click on this. It imports it into your scene, and here it is. It is a three d object. It's very cool. And just because of the way the scale is of the scene, we can just go to the scale tool and scale this tree upward. Like that move back a little bit like that. I actually want Teoh. Copy this as well. So again. Do that. Hold down command or control and drag. We could copy and then just rotate it to make it look different like that. Maybe scale it a little bit downwards or upwards And just build a quick seeing with these trees behind the snowman. More time like that. Rotate it. Scale it like that in the sea wells there is in this content browser. Let's see European trees mature. Here we go. Pine tree. It was nice. It's huge with scale this down. I'm gonna put this in the foreground and then make a copy that over here I wrote a little bit with a copy over here. And there we go. We have a pretty nice winter. Seeing with this snowman ce looks like very cool. What I want to dio it's not gonna be visible in the camera, but I think it be really nice actually to just put a line of trees along this plane right here to cash shadows on the scene to give it the give it that kind of illusion. There's a lot of trees in the scene. I'm just going Teoh, come and drag again and again and again like that, so they cast shadows onto the snowman and the rest of the scene. Now, one thing we can get started doing now to is to drop a camera in the scene and start to frame this shot up the way that we want. Please go right here and you just click it and add a camera to the scene. You can see how it gets added right here. Now it gets added exactly at the spot where you're looking through. We hit that button, so if I zoom back out and you can see now there's a camera in the scene, you can move it around and everything. And there's a check box right here, a check mark. Click it. It zooms into where the camera's looking so I can go around the scene like that and then go back to the camera and get it all set up. So we do that inside the attributes for the camera. There are the focal length, the sensor size, and we can actually even set up A depth of field in a second will show you that we like to do personally for cameras for these kind of shots. I think it I like to change the sensor size to the movie size and automatically it zooms in , which is cool. And then I could change the focal length like the Zahra set. These basically are prime lenses you would get if you're on a movie suit or are set for a studio or anything. These are all the preset lenses you would normally have. And you can obviously just type in whenever you want in this field, too. But I like to use the presets like that. Now it's gonna be a pretty cool scene already. Let's see what this looks like. Rendered out. That's not bad. I don't like that This tree looks, um, see if I can. What I'm gonna do is replace this tree with one of these trees in the foreground so I could just uncheck the camera, have it all set up. I like to keep these trees in here just to cast shadows, but I wanted take him out of the camera view like that. This one could be every here, actually, and I'm just going to go in and command drag one of these snowy trees. I might put it more like this. Actually, that's pretty good. Now you can see. So what I did here was I added depth of field to the scene and the way that you do that is of and take the camera can see this handle right here with the camera selected, I move this in and out. This is actually the focal distance of the camera. So this is what will be focused on in the scene. And I went into the render settings and by default, the render engine is set to standard and I liked it. Always change it to physical render. It's a different render engine inside cinema. When I do that by default inside of physical settings, you have these your default settings for the physical render and this depth of field check boxes unchecked. If I check the check box, I could now get depth of field when I render in the render view. But in order to get that correct, I don't make sure the focal distance of the plane of the camera itself is set in the right distance. Someone has to be focused on an object. So this is where the camera is focused on right now. This plane right here, which is basically right in the eyes of the Snowman. And now when I go into the attributes for the camera, had my focal ing set of my film, Gates said. I go to the physical tab of the camera. I've got to check this box right here called movie camera, and now the F stop is going to dictate how my step the field will be in the scene. And now, just like a real cameras, the lower the number, the more wide open. The aperture of the lens is for the camera, which means that there will be more or shallower depth of field. Is this referred? Teoh. So I'm gonna go to just like a slow is possible is very low F 1.2 f stop and let's see ah through Orender and see how the depth of field looks in this scene. That's pretty cool. This part right here is really out of focus, and little bit of a areas around the snowman are also a little bit soft, which is great. Now it's looking a lot more like a real scene in the snow like that's really cool. And so in the next section, I will show you how to render this out as a file. 12. 11 - Final Output / Image Editing: we have a good scene set up, get the camera sat of a good focal length. Let's make an output to a file that we can then edit in photo shop on. The way to do that is to go into your under settings and you have physical render engine. You've also got this output section right here. Now this this section in the render settings tells you can tell cinema what frame size you want to set this at to render the file to now, just by default. I said it to 12 80 by 7 20 which is a 7 20 HD preset. And inside this era right here you got use a lot of different presets for frame sizes for wherever from a video for print. And I'm just going to select HD TV 10 80 24. So So that means a 1920 by 10 80 file, and if it was an animation, it would be playing back at 24 frames per second. But we're just gonna do one frame, and that's you said that right here and frame range. It just set to current frame, which means it's only gonna be one frame you can see right here frames one from 0 to 0. So just it's just gonna render out one frame, because what you would do if this is an animation, you had changed this to either all frames or preview range. If I changed the preview range, it's going to this right here. It's referring to this preview range 0 to 90 frames, and you can see right here because he's playing back at 24 frames per second, there's only 73 frames that will be rendered. That's kind of confusing because my default cinema plays back its frame rate at 30 frames per second. So I just changed this frame rate to 30. Now you can see how it does that. Now it'll be 91 frames from frame zero to frame 90. So that's how you would do if animations go back to current frame. So which is one frame? This is your frame size that you render it out as in the save section. This is where you set the file path for the render in the format of the file itself. I like to personally dio PNG files and set the bed death to 16 beds per channel. That gives you a lot of information to edit in Photoshop later on or after effects or any other kind of compositing program. It gives you a lot of information to edit, and then it also keeps a file size down to, I think. And PNG's A really great too, because they incorporate transparency as well. If there was any transparency in the scene that would also be rendered out, we've got that. Oh, said the file path right here like that gives you the file path. And now we're ready to render. And I have to do to do that is hit this middle button right here. Now, when I do that, it opens up this picture viewer window and it starts rendering down here. I can set the view size of the of the picture of you are so I can set it to fit to screen so I could just see the whole frame is it renders. And once this is done, this will be a finished file that weaken taking a photo shop and edit further done could open. Bring the file in and there you go. This is your finished file inside Photoshopped. You have these adjustment layers you can add to your scene, and one of them is color. Look up. This allows you to add lutz or look up tables to your image. There's a couple of presets in here that a really nice. It just kind of there, almost like filters you can add to your to your shot without doing a lot of color. Correction. No, this one's nice is kind of mimics a Fuji film film stock, but this one I like a lot. Film stock. 50. Now it's it blows it out a lot, but the cool part about adjustment layers that I could just change the opacity of that layer. Just change the mix of that filter on the image, basically, So I like how it is. It just a little bit of a punch, And that would be how you start editing your image in photo shop after it's rendered out and this concludes your class, Thank you