Transcripts
1. Overview: Hello, my name is Alexey in this class and we'll show you how to transform your 2D vector into real 3D scene. What data we can import from vector, how we can create pure 3D objects based on your vector composition. How to transfer colors, how to set lighting, how to render what post effects we can use. On screen, you see the base gauge, the vector illustration, and final result, if you like. Let's explore the techniques.
2. Scetch to C4D: Before we start in 3D, I'll show you the basic sketch I've made on paper. I'm not good at illustrating. So just basic forms, spheres, clouds, cell phone, clocks, some plants. And then I go to vectorize it and made every shape and separate layer. Then I rearrange it. And maybe we can wait like this one. Then go in table. Here's plant, clock and duck. I select plant dock and tears and table. And maybe can we just select all of them? Maybe move it a bit to the side. And I have a cursor. I will create it in Cinema 4D directly. There's very simple gamma, and I select this design element and drop it into Cinema 4D. In Cinema 4D, I can create, I can input via CVs outsmart Plugin. This is free for Cinema 4D users That's university. Or in release 25, we have integrated support, both vector files. So when I drag and drop Adobe Illustrator input, we have some presets. But I keep everything as default. And here is my shapes. I can extrude. I've said layers. And it's already yeah, 3D space, 3D scene. But I would like to create more professional looking staff. And I'll start with adding true 3D elements to it. For example, like a coarser. How we can create a cursor. We can go to use cone, cylinder, arrange it in like this. And we have let me enable it. We have something like Cusa, but I don't like it to be so big. I create an object, put our elements, then. Coursera. And I change the scale in z axis. Just to create more flatten. Look. I can play with radius. Now to have so much big and huge tail going to caps and add some fillets to have more smooth shape here. The same for cone. We have top and bottom. I think bottom is what we need. At some extra details. Going to object and you see we have not much polygon segment's going to Rotation Segments and set maybe 32 or even what is six. And our bees precursor is radium. Going to enable our design element. Go into coarser. Put it like on Sketch. Holding t for scaling, holding R for rotation. And it should be something here. Maybe shrink down to a point to our Word document. Of course, we need to proper rearrange it and create something like maybe a color custom, which would be like black. And I think we have to go yeah, custom. Nothing like dark. Or we can pick from clock. So our preparation use radium may be 0.5. And now we'll have to create pure 3D elements and replace our plaid extrudes with proper primitives and shapes.
3. Details to Extruded shapes: If you don't use Cinema 4D 25, I remember that there are smart, and here we have CVI, smart object. So it's the same logic. So if I load my AI file, you see that we have almost the same result. If we here see we get extrusion. And if we could see on our integrated vector, input, will have the same. So you need to use our smart or latest Cinema 4D, faster vector input. Now we have two parent concert to design a. And I have dropped the flow plugin. So it arrange our object directly on the floor. You can manually do it with hand, but I prefer to use this very handy plugin, ion parented. And now we need to create pure 3D elements from these flatten objects. I duplicate by holding Control. Design I creating not used folder. We can go and maybe said icon. And for example, I use this one. Matures, drop it there and hide it. So I will keep their base procedural elements. And this one, I hit C, So converted to this stack of our object. The great thing is that in Adobe Illustrator we made layers with naming, so we don't have any problems with biding. What group is for what? I keep Clock Control C Control N, Control V. This is my workflow. I like to work in separate seem because this is a very fast and intuitive way to do it. So we're just working with our elements. Maybe manage your stuff. I create, outline, add extra depth. So I use this slider to upset this out. Elements. For example, I can make it average of set in x2 it, we have seven and create 10. And made a little of set just to have this border of R1 Klux. Then I go into caps and add some smoothness. And then you see that we immediately have this bevel edge. Maybe one should be, okay. Some signals to have smooth here. And the same I can do with these four elements. Just adding a little bit of extrude maybe 0.5, and add some segments. We have rough edges. So I'm going to front view, I'm going to select these four splines. You see that moving to is selected. So I can peek and check what objects are selected. Going to point mode, control, a right-click. And here we have Java. So I create a little bit corner, go and back modem. Now we have this more elegant and smooth objects. Then we can decrease extrusion and arrange it. As for selection. And move it directly above in front of our blue zone. Where it's like popping out, disabling this black one, spline black. Select this Bohr and holding out, I move my object directly in front of our watch face. Now we have arrow and the same logic going to. Points. Select to this term holding t. And on this triangle, I shrink down it. Then holding Control, a right-click. And we have these chamfer tools. Or you can select it here. The mean, adding some smoothness. Going to the model mode. Supplying arrow, decreasing extrusion. Maybe a bit. We have 2 here, maybe 34 arrow and rearrange it in front I holding out for moving with decimals. And now we get this huge arrow NA create. If we're going to see the side view and a little gap here that we don't have with our time markets. Okay? Now our clocks is really 3D. We have not only flatten objects, but rearrange it. In 3D space, Control C, Control V. And I replace my clock with new geometry. Now we have this dark. Of course I save this thing. I close all our, another open objects, going to dock Control C, Control N, Control V. And now we have these lines. I select them. Move it to be sure that everything is selected. Bulky. Move it to the top. Adding caps. Little upset, maybe two, and move it in front of our document. I think 20 shouldn't be too much of set one. And we have set to minus 1 for adding some subdivision into caps. Oh, not here. Caps. You have smoother elements here. Now we see that we have some problems because they rearrange with different upset go into side view. And I can manually arrange it with golden out to our document. 12. What we get here, holding out one more ready to go and these 21 with different offsets holding out, arrange it, will then out arrange it. And last one arranged. Now we have V. I would like to go in to point mode, control a by selecting the spline, spline V or V. Control a. We have this chamfer and I would like to smooth edges. Going to model, select caps, adding, extrude, maybe to adding segments. And put our V in front of our document shape. Pretty close. Maybe like this one. Then select may shape. This is duck shape and just adding some caps to maybe one human segments. Okay, this is done. Control X, Control V to close this document and Control-V, replace our dog. So we can make some markers 3D clock, 3D dog. And now we can hide it with holding Alt and left-click. We have 3D cursor. And now we have some shapes that we have to replace with pure 3D and not playing with extrusion parameters only.
4. 3d objects and Extruded: Now we have to create a real 3D elements. And I can start from the bottom of our group, Cloud one. And clouds. How we can create. We can use, of course, just this extrusion, but we can control C, Control M and ravine. Going to front view and create some spheres that match our shape. 64. Go in here. I think the matching perfectly, Yes, like this. Go in here. And yes, we have these three shapes that are perfectly matched. Now, we can play, for example, with scale, or we can keep it like this. I create volume builder and one more element. This is the cutting block will be at the bottom. And a hundred and twelve hundred five hundred and arrange it. But a flaw and huge amount in z volume builder, we can drop all our spheres and cubes going to Volume Builder. And we said subtract. Now here our shape. Then we have to create volume measure and put our volume builder there. We can hide our Cloud. Yes, we have our shape. We're going to build and add as they have smooth. Pretty good. And I don't want to have this huge extrude and z. So I'm going to, our measure, Going to scale and set to point to in z or maybe point 35. So yes, pretty organic. And B for checking their web rim, I will go and decrease voxel size, maybe five going to SDF smooth and may be going to another algorithm. I just need very smooth edge. Going to Gaussian and extrude it relation to turn. Yes, cloud one, Israeli going to put it here. Disabling, extrusion, disabling Control C, Control W, control V. So one cloud is ready. So we can delete this one. The same logic is for the second cloud Control C, Control N Control V. Now I'm going to spline. We have this upset and after we're creating a new shape, we can create new Null. Put our Cloud there, delete this cloud, cloud Small, going to spline. And we can arrange it to 0 because we don't need this upset. The same steps. Sphere 64, mentioned to our big one. Like this. Like this. And like this, I'm holding Control and just moving elements or you can use Control-C, Control-V workflow. Now we have cutter one thousand, one hundred thousand, too much and 400 wooden to the bottom. Create volume builder. Volume measure would build in the measure. Arrange all elements. So Q should be a subtract, adding as they have smooth and two iteration here and decrease voxel size to five, we go into volume, measure, point 35 into the scale, or we can create even narrow object. Point 2005, going to Cloud, small, disabling, disabling. And we have this new shape. Also, we can play with the color copy, paste, Control X, Control W, and control V. Now we have this new Cloud, so we don't need previous one. And Cloud beak with name it, cloud VK. And the same trick with color. Copy, Azure, customer or automatic based. And now we have our beautiful. We can drop it here. And they are ready. Phone Control C, Control N, Control V. And this is pretty, is pretty simple and I think it's almost ready for our work. But I would like to create more smooth and organic look. So we bump, we check the side view, flatten surveys. So we go into select our screen, adding caps. And of course some battle. Maybe one. We have shaped depth and we have these spline. Our case can disable it. And we have this big camera, camera. Now we'll go to our spline screen. Let me keep only screen here, going to create a cut-off by our camera. We're going to drop our spline outside these cameras. So when Splain camera duplicate. And now I am selecting this spline screen, going to by holding out to instrument called in spline mask. We have defined it. And in new cinema, if you forget, where can it be? So maybe here, like this. But you remember the name of the tool you can use, Shift, see, and just type, spline, mask. It. Creating something outside doesn't matter for us. We have camera screen and a subtract B, and we have our base camera and cutting Braun main screen. One more very proper way to do it in to check if you have some problems. So in spline mask, we have some problems if our, we can have some problems if our splines are outside each other so they don't aligned. Now, it works fine. And I'm really surprised with it. Let me lay. And you see that we have some problems. Why it's work properly, because it's almost near. But we using out and arrange our geometry perfectly. Extrude perfect cutout. We have this small shape inside, go into the front view. So we have our camera here. You can create some, maybe caps one. And our camera is perfectly inside our cutout. Though we have case, 1 case we add some beveling, maybe three just huge edges. Decrease of set. And put it beside the screen. Control X, causing this scene, Control V, put here. So in comparison, redeem bone and our previous one. You'll see that we have some extra details, some edges for specular lighting, proper upset, upset of our screen, and normal cutout of our camera with additional details. So we can delete this bone to. Now. We have to create three objects. Let me unhide our design. And these will be really 3D object that we'll cover in next chapter.
5. Last 3D objects: I suggest to start with the table because Aedes, the base of our shape, and I can go to our ESG manager. And Luke for a table. We have some tables and maybe we'll find something we need. Coffee table. No, we don't have proper geometry. Let me check. Blend. Blend. And we get, I think this one be bouquet to replace our green element. Upscale it, arrange it. Almost the same. We can go to this pots and maybe disabling our texturing like this, like this, going here. And leaves. Pretty good. Now we'll go into, this is our plant 3D. We'll go in here, I'm Dylan, this plant. And we have to work with our table. How we can create table is very simple. We create our new cube. Table. Cube. Arrange it. Decrease scale. So it's Mesh. Our extrusion. Look and position. We'll play with with bulky. Almost perfect. And now I go on to holding LGM to move it to the null and put it into the start of our sin. Then create 21 cylinder like leg's holding out and go into cloner and decrease to beta. Now we can play with our markers, going to drop the floor. You see it's too much. We can decrease. Maybe radius five and height 180, dropped of law, dropped to the floor. Our cloner, even lower. We need to set it maybe one a seventy one, seventy, one, eighty hundred. And we have our legs for our table. Going to change name. Table, go into Q, going to enable field, decrease radius to one. And now we have our table shape with cloner legs. Now we go into table, go into spline core, basic, copy color, set to Automatic based Object Transform color paste. Now we have planned already on our table. We can hide our table or even deleted. And three spheres. Create fear. Arrange it. Adding segments, 64. One more small sphere, and one big one. Sounds and negatives. Now we're selecting all these three-fifths 0, occassionally, move it and not copy control C, control V would hear. Arrange it. Now I select all of them are going to drop the floor so they perfectly aligned. Now we go into up them, up and in, up them to the level of our table. And we arrange our objects here, 0, 3, the plant and spheres because we move our table in a different position once here to the front and back. Front. So we need place here for our document. Like this. Don't forget that we have spheres with different colors and we're going to match our 3D objects with same color, gamut. Tim, spline, control, C. Selectins here, automatically custom paste. And now we have three spheres. The spheres 3D, table, or K. We can delete it, unhide all our elements. And now they're arranged properly. And we have to build our composition and prepare it for lighting and shading.
6. Building Composition: And let me delete this empty things. We can put our elements from this folder, uncheck coarser, and now we have to build our composition for rendering. I suggest to start with hiding all elements, holding out. And we have table. And I put with the blend there. This would be our unhide it of course, our main element and I like so it placed directly in the center of the scene. That's great because when we create new any object, they will be directly near with our objects. Now, I can unhide doc file. You see it really upset it from our center. So I move it to the center. I create new, new, rename it 3D doc. Did here selecting modal. And we have this 3D dog did it without children. And now our elements have anchor point directly in the center of our sin. Also, I would like to move our anchor point directly to the center of our doc, going to enable x's, go into the front view and arrange it. I think some where here. Disabling. Arrange our spheres though they don't cross our Docx file. Really good. Move this one in front. Okay, we have some plot here. I think we have some shaders. And one more thing. If we want to delete all shaders, I put one on the top folder, tab group, Right-click, select identical sec child tax of same type. We have multiple values of selected tags to elements and I hit Delete. Now, no materials with these element to the table is ready. I'm going to 3D clock. Go into front view. It should be like here. So a change the composition with small tweaks. Put it in front of our document. Now, what we have here, 3D phone, put it below our objects, going to x's and arrange it more closely to the center of extrusion? Yes. Bone. Good. Small cloud in front of our cell phone. But in the back of our table. Bone could be arranged and B cloud at the par behind. So now we have our composition in 3D. Let me unhide our design AI left set to one. And you see that of course we made some arrangements and move our objects to decide. But overall, it's almost the same composition that we made. And now we'll have to create some shading. Before I create a group coding 3D shell geometry. Put all our elements there. And I need to create a huge plane with bending it at the back. 90 degrees, rotate 90 degrees, 90 degrees. And child it to the plane. Go into the back. Adding segments not in width, button, height, have this smooth bending thing. Arrange it. Extend our band to have very smooth the forming of our shape. And of course, we need to create camera going from the camera view set to maybe portrait lens, moving to 0, 0, 0, 0, and frame our shot. How we can do it by going to Composition, use grids and frame it as we want. I can now move our Cloud to the side. But be sure you are selecting Cloud, new object and not volume object. To move whole group. Be going to the left. We have cursor going to wrong way. Arrange it. Here. We have our 3D plant, bolding tea, maybe shrink down. It. Move camera like this. Moving our dog maybe to the site. Or we can extend our sphere and go into the front view and upward with not cross our table. We have this table lines almost not visible because they are color the same as our viewpoint, but I think should work fine. So matching our composition like this, maybe here, 3D dog wouldn't be arranged a middle, a little bit left, closed, small, like a little bigger. Just not to create these lines. Intersection, plant moved to the side, make it a little bit smaller, not to have the same size of the sphere. And I think our competition is ready. And now we can start to build our lighting and materials.
7. Lighting and Materials: Now we have to build our lighting. And for this task I'm using Redshift. You can use octane or any other render engines because the logic is almost the same. I dock to decide. Kid. Play also are using just default settings of redshift, production, medium, global elimination. So all settings are already set. If you're using octane, you can use path tracing for following this to create a relate. And I cried elimination value and put it at the top. Mission. Now I'm going to hidden line just to not be affected by this illumination and shading. Thanks. I up our lighting in scale, decrease intensity, maybe 25, just very smooth one. Going to the front view, you move it and the top though it's like soft box. And move it slide in front just to have these shading going from there. One side. Also I create one more relate. This wouldn't be top, this would be back. And I put the slide direct layer into the back of our composition so we lighting only background. You see that like this. Maybe decreasing strength, five or maybe 10. We'll keep this settings for now. And tomorrow lights, huge lights to create soft shading. To the left. This would be our left light. You see we get immediately speculators and this shiny look. Go into intensity degrees to ten, maybe to 15. Move it to the top, maybe a little bit closer. But when we're moving closer, we see this shading line. And move it left, increase intensity, maybe 30. Good-looking control C control V, rotate. This should be our bright light. Move it to the side. And one more thing I want to tell you that these lights should have different intensity to keep not same lighting from the site will be left. When tin, right, maybe five, and move it to the back. So we keep all our elements here not vanished with these extra exposure. So basically everything is ready. Go into materials. We have some materials here, edit, delete unused materials. And now we'll have to create our Redshift materials for these elements. Let's start from the background basic regime and drop it to the plane. Double-click material ADJ, the graph. I use old version. Added reference, renderer, Redshift. Use node materials for presets unchecked. Because this one is more compact and it's easier for me to work with it because it doesn't contain these shader balls. We have the final look of our material, our shader. So a peak, something maybe like bluish extent, roughness and maybe play with color. So now we're very saturated. I would like to have, or maybe deep one to have contrast here. Or we can go into another way. We create very subtle background coloring and decrease Reflection strength. Because now we have a lot of sparklers. And I don't want to have them. So if I set value to 0, we see that a lot of lights are affecting with specular lighting. At our background. Of course, we can go to Project and put our plane there and exclude. It from maybe a specular lighting. But I would like to keep a very simple material like this. And we can watch how we can manage it. But maybe we can exclude all the ground from left and right. But we can keep the top light effect on our background and of course, our bag. Let me check if we select our top light and exclude our plane. We have very dark lighting. So this one should be okay. I would like to keep saturated. And maybe we can find some colors. You can create more gamma. But I keep it with cold one. Bouquet. Composition is ready, background is ready. And now we can, now we can check one more thing. We can create a material that will take colors of our geometry. So why add our geo, we lost all our color and by get these beautiful reflection, we can add roughness and it starts to look very tony and smooth. We can use color user data. And here we can have and find object color. Connect our note to diffuse color. And now we get our colors that we get from Adobe Illustrator. And now we can use data to drive the overview of our shapes. Go into material. We can play with strength of our work, reflection and immediately get the new look. So check if I disable all materials and enabling, we have this beautiful reflection. I can going more into the front of our composition. I dislike pure black. Colors of our cursor. And v letter go into our folder with Guillaume. Going to Basic, go into color and Up it and make it brighter. You see, we immediately have the response of our render view like this one. Selecting V. Maybe add some coloring to it. Is okay. Now we have some problems with our sphere. It's like not pushing or contacting our table. I know we made directly, but I would like to move it a little bit below yes, interests. So our composition is reading. I would like to take our clock shapes. Let me select all of them. They have, I've said of R1 epicenter. So I'm going to click select Axis center, going to the front view. Move it almost in the center, going to the top view and match the z-axis with center of our shape. And now, after this manipulation, we can play with scale and maybe rearrange it right here. Now we can select our clouds, going to drop the floor, make sure it contacting our floor. Yes. And playing with the angle, maybe top, maybe button. I think this one looks more interesting because now we see the depth of R1 table holding duck. Scale. It, move it to the side, shaking so it not intersect with our spheres. Selecting our cell phone, extended, dropped the floor, will be like this. Move it to the side. Just do not have this hole here. We have perfectly centered our composition. We can try to move it to the side. Looks interesting. Looks pretty interesting. I think. You can go back, but maybe a little bit to decide. Like now let's keep the original composition as in our Adobe Illustrator project file. What we can do more, we can create one more material. For example, it would be silver and apply it to our table. Likes to bring more realistic material selecting, moving to the pace. Maybe a roughness in. It can look very good, but let me check. Please stick legs. This is Geo increase roughness and playing with color to find L1, not good. Gray look pretty much the way I like it. Then we go into our table Main Table Queue and maybe make it more brighter. Maybe adding even color to it. Because it can add this vibrant, eye-catching. Maybe a little bit. Thinking to blue and a bit darker. Yes. Moving cursor to the site, arrange one more to have same distance and the left end at the front and they're left and the right of our clouds, Let's move it about small and pretty much it. I think we can tweak some more things in next chapter.
8. Final Result: Final two weeks, what we can get out of our render is going to Redshift camera. And we can try to add some bloom effect. I can overwrite naval. And if I set it to very low value, we see immediately that these beautiful glow in octane will have the same blue. And now I can add some elements to glow. Also, we can go to object and the distance to our Word document. And tried to go to bulkier, enable set to focus distance and said they refuge, value beauty of 15. And now we get some blurriness. If you want, you can add it. Huge one. Or maybe a very subtle or you can disable it. We didn't set our material to our plant. So we're going to plant. We have some objects here, selecting pods, going to material, going to custom. And sad sound thing like maybe dark, orange, brown or bright one. Then we have plant basic custom. And something green but not so vibrant. Very subtle effect. And maybe we can go to our pot and pick the color from R1 seen already to match our Gamma and not to pop off from it. Maybe dark blue. Okay, I can hide soil, plastic pot, or we have two parts here. So I can compare plastic, but it's magic paste. And we don't have these edge. Going to the front. This one plastic pot. We have different object here. We can hide it. Going to soil and set to something dark. Going back to our camera view, I dislike this white zone. So I going to R1 phone to our screen control C, control V, disabling, rendering. And would like to create something like 500k document editing. Maybe like this. One here. Decrease kite. Wait one more height, maybe a more narrow, like this one. And this one will have four shapes. We can select them. I'll just holding out and going to extrude in, in extra, we have these hierarchal option. Too much extrude 10, of course, add something like caps, segments. And as we have that rectangle, we can go rounding and smooth corners. Playing with radius. One. Playing with basic color. Customer, for example, light gray. This would be extrude blends Control X, Control W, control V. Put it to our phone and arrange our lanes directly to the screen. You see that it covers our Cloud. Measured. But as it at the back of our geometry, we didn't see intersection. And now our screen is not so empty. We can play with scale that by selecting these two lines would need to the bottom. Like this. Maybe decrease their extrusion. 25, It's very, maybe even 21. Narrow it to the screen. And said, very, very subtle difference from our base shape. Maybe I can beak this one. These light blue color, almost white. Let me go in to our case up our call and not to have dark one. You see this outline a little bit brighter, going to clog and select all these black elements. Just up a bit. Our arrow could be more or not. These sides, but arrow. Maybe more vibrant. Spline back, going to create a little bit closer to gray. These Force planes up color, maybe to white, or we can play with our colors of the scene. May be blue, maybe a dark blue, or maybe the same reddish Gamma. I'll keep. Great. This is the workflow. Of course, you can render it by going to Redshift output, routing your format. We don't need multi-pass image and just hit Render. With basic settings. They will produce pretty clean result. And if you have RTX card, you can check hardware addressing. And sometimes it produced very good speedup. We have some warnings, but we get our image ready. We see colors blown out, but then we have color conversion, column management and our composition is ready. And let me load our base images that we get to two summary, what B was in the start and what our end result. We made a rough sketch. Then we create vectorized shape for our composition. And then we transfer it to the 3D models with replacing of shapes with real 3D elements. Some were using vector data. This is the result. This one or this one. And panel cope you like the result of this class in this workflow will allow you to bring new methods and techniques in your workflow and help you to improve your skills. Thank you for your attention and have a nice day.
Alexey Brin, Motion designer
