Maxon Cinema 4D Studio R15 Manuel

© 2013 MAXON Computer GmbH • All rights reservedMax-Planck-Str. 20 • 61381 Friedrichsdorf • GermanyTel. +49-(0)6172-5906-0 • Fax +49-(0)6172-5

5InterfaceClick on the second icon to create a cube. Click and hold to see all available parametric objects. Before we proceed we will increase the cu

Sample Images95© Johan-Bernd Zweverink

96HAIR3. Quick Tutorial: Fur© Kaan Özsoy – www.idapictures.com

97HAIROur volunteer, Hairbert, is only a few mouse clicks away from becoming his warm winter fur. He may look a little pitiful without his fur but his

98HAIRThe guides all protrude perpendicularly from each surface and have a default length of 100. Go ahead and Render the scene to see what poor Hairb

99HAIRWhen hair is added, a corresponding material will be created automatically in the Materials Manager.The HAIR object is located at the top of the

100HAIRIf you play the animation now you will see how the hair is pulled down by the gravity (to make the animation of the Guides visible, make sure t

101HAIRTo prevent this from happening select Simulate/Hair Edit/Set As Dynamics in the main menu. Now we can cut and style Hairbert’s fur.Switch to th

102HAIRAfter you’ve had your fun with Hairbert’s hair and it has the look you want switch to the perspective view in the editor window and position Ha

103HAIRThe properties of Herbert’s hair still have to be edited extensively so let’s start by double-clicking the HAIR material in the Materials Manag

104HAIRRender the scene once again. The result should look like the next image:As you can see, Hairbert’s bad hair day is slowly but surely coming to

6InterfaceThe advantages, especially in modeling, are obvious. Since the object contains few points (edges/polygons) that can be edited it remains ver

105HAIRRender the scene again. The result should look like this:So what’s left to do? Right, Hairbert’s face still needs some hair. As mentioned at th

106HAIRFirst, make sure the Use Polygon Tool is active and select the Bear_mesh object in the Object Manager. The polygons to which we just applied Ha

107HAIRYou may have to tweak the colors a little but your result should basically look like this:Congratulations! You have just completed your first HA

108HAIR4. Tips and Tricks• You can save a lot of time by optimizing your HAIR settings. Make sure your object really needs those 500 000 individual ha

109MoGraphMoGraphCINEMA 4D’s MoGraph features make it easy to achieve complex-looking effects. MoGraph is available in CINEMA 4D Broadcast and Studio.

110MoGraph2. General Information/InterfaceMoGraph can be accessed in the CINEMA 4D main menu. In most cases, a Cloner object will be required in orde

111MoGraphSpline EffectorYou can use the Spline Effector to link spline-based shapes or objects to the Cloner object. Clones can be aligned to create

112MoGraphTarget EffectorThe Target Effector lets clones be aligned to a target object. The clones will follow the movement of the target object accor

Sample Images113© Vincent – www.vincentlondon.com© Kay Tennemann – mostyle.tv

114MoGraph3. Target EffectorIn this tutorial we will show you how to achieve fantastic results with just a few clicks of the mouse. MoGraph has been d

Sample Images7 © Clement Vaucelle © Joe Yan (Shanghai IHDT) – www.ih-dt.tv© Erdal Ugur – www.apachedesign.com

115MoGraphOur surface is taking shape nicely. Only the number of clones needs to be increased. Set the Cloner object’s X and Z count to 25 each. In or

116MoGraphYour scene should now look like this:Next we will add a sphere to serve as a Target Object. It really is not necessary to add this sphere bu

117MoGraphThat basically completes our tutorial, except for the fact that we wanted to simulate the effect shown in the screenshots.To achieve this ef

118MoGraphOpen the Target Effector’s Falloff tab in the Attribute Manager. Set Shape from Infinite to Sphere and set Scale to 20 %. This will define a s

119MoGraph4. Quickstart Tutorial: MoDynamicsSimply linking any given object with a Cloner object in conjunction with a single Dynamics Body tag is eno

120MoGraphWe‘ve made a few modifications to our scene but it‘s still not finished. But we are only two clicks away from doing so! Right-click on the Clo

121MoGraph• Note: that using MoGraph in conjunction with HAIR has its limitations. HAIR dynamics reference the original clone and will not be calculat

122Dynamics© Kaan Özsoy – www.idapictures.comDynamicsIn this tutorial we will show you a few of the CINEMA 4D Dynamics functions. CINEMA 4D Dynamics a

123DynamicsOpen the file QS_Dynamics_start.c4d. The scene contains an oldtimer, which we will equip with a motor using only a few objects and by modify

124DynamicsThe object Connector_front must be selected so the wheels_front object can replace the wheels_back object in the Object A field (drag &

Sample Images8© Soonyup Song – [email protected]© Josh Grundmeier – www.fuseanimation.com

125DynamicsAgain, make a multiple selection and select all of the polygon objects: wheels_front, wheels_back, car and ground. Right-click on one of th

126 SculptingSculptingWelcome to the Quickstart sculpting tutorial. With the introduction of CINEMA 4D R14, a powerful new sculpting tool was made ava

127Sculpting © Augenpulver – http://www.augenpulver-design.de/

128 SculptingOpen the file ‘Sculpting_Turtle.c4d’.At the top right of your interface, select Sculpting from the Layout drop-down menu.To begin sculptin

129SculptingThis will disable the wire frame display. Any brush stroke we make can be undone by simply selecting Undo. Generally speaking, a graphics

130 SculptingThe Stencil you just selected will appear in the Viewport. You can adjust its transparency in the Attribute-Manager as you see fit but a

131SculptingNext, switch to the side view in the Viewport, make sure that you are on Layer 1 in the Sculpting Layers tab, and paint across the turtle’

132 SculptingReduce the brush size to 10 and paint over the lip and eye lid regions. The result should look like this:In the next step we will apply a

133SculptingNext, click on the Invert Mask button in the Sculpt Palette and then select the Pull brush. Set the brush’s Size to 50 and its Pressure to

134 SculptingThe final result should look similar to the image below:We will apply one additional brush to complete our turtle’s head: The Knife brush.

9InterfaceWe will continue with navigation in CINEMA 4D.The first symbol (click – hold – move mouse) moves the view. The second symbol (foreshortened d

135SculptingThis completes our turtle’s sculpted head! Baking an object that contains objects with millions of polygons can reduce the number of polyg

Sample Images136© Toni Ramon Sanchez© Josh Grundmeier – www.fuseanimation.com

© 2013 MAXON Computer GmbH • All rights reservedMax-Planck-Str. 20 • 61381 Friedrichsdorf • GermanyTel. +49-(0)6172-5906-0 • Fax +49-(0)6172-5

Sample Images10© Dimitris Katsafouros© Kay Tennemann – mostyle.tv

11Materials3. Quick Tutorial: MaterialsA well-modeled object can make a mediocre impression if the right textures aren’t used. Textures give a model c

12MaterialsWe will now create our own material. Open the QS_Material.c4d file. You can see in the Object Manager to the right that the object does not

13MaterialsClick on the material in the Material Manager with the left mouse button and drag it onto the Eyeball object in the Object Manager (when yo

14MaterialsOnce you have selected it you will see its parameters in the Attribute Manager.Adopt the settings you see in the next screenshot:We have ju

ICINEMA 4D Release 15 Quickstart ManualThe software described in this document is subject to a license agreement and may only be used in accordance wi

15MaterialsIf you own CINEMA 4D Visualize or CINEMA 4D Studio, you can render human skin realistically using Subsurface Scattering. By placing this sh

16MaterialsDanel: Very good for simulating high-gloss finish.Banzi: Lets you depict various types of wood.

17Materials Banji: Calculates complex lighting situations with glass and even makes rear-projection (shadow casting) on partially transparent materi

18Lighting© Enrique Rueda – www.amscenes.com4. Quick Tutorial: LightingIf you are already familiar with lighting a scene in the real world then you wi

19LightingA 3-point lighting arrangement begins with setting a key light. As the name suggests, this light emits the main lighting for the scene and w

20LightingNow our light source has been transformed to a spot. A spot acts like a flashlight. CINEMA 4D offers spots with square and round cones of lig

21LightingCINEMA 4D offers three types of shadows: Raytraced (Hard) – a shadow with sharp edges, Shadow Maps (Soft) – a shadow with soft edges and Are

22LightingYou will see the result in the editor right away. You can also edit the light’s cone by dragging the orange handles. If your graphics card w

23LightingSince the brightness of the lights in the scene is additive, we must dim the brightener a little.Reduce the Intensity in the General menu to

24LightingThat completes our classic 3-point lighting arrangement. Now the real work starts. If the scene has a background, which is often the case, i

IIContentsPreface ___________________________________________________________________________________________________________________________________

Sample Images25© www.kingcoma.com

26Lighting5. Tips and Tricks© Uli Staiger – www.dielichtgestalten.de• CINEMA 4D has been able to build a large community of users around it who are mo

27Lighting• Textures are all over the Internet as well. Note that almost all image are copyright protected and cannot be used commercially. Taking you

28BodyPaint 3DBodyPaint 3DThis is the BodyPaint 3D tutorial. In this tutorial we will explain the most important functions in order to give you a runn

29BodyPaint 3DUsing the UV-tools you can relax and stretch your UV-mesh, no matter how complex it is. Put simply, a UV-mesh is a second impression of

30BodyPaint 3DHere you see one of the two standard layouts: BP UV Edit. The second layout (BP 3D Paint) is set up in a similar fashion, only without t

Sample Images31 © Stefan Tsvetkov – render3.cghub.com © Valentino Szemere – www.apaxcreativi.ch© Victor M. Jiménez – alvi3d.blogspot.com

32BodyPaint 3DNow we’ll get to the heart of this tutorial. Open the file QS_BP3D_Start.c4d. Say hello to Claude, our guinea pig for the day. In the cou

33BodyPaint 3D3. Quick Tutorial: First Painting LessonAt the bottom left of the Material Manager (in the Materials tab) you will find the textures we j

34BodyPaint 3DThe individual UV-mesh polygons of these eyelid edges take up less texture area than the rest of the polygons. That’s why a texture plac

IIIMoGraph ___________________________________________________________________________________________________________________________________________

35BodyPaint 3DNow select Brush Tool for Painting Textures for applying the color. Set the size to 25 and the Pressure to 40 in the brush’s Attribute M

36BodyPaint 3DPaint along the edge of the eyelid. The eyelid will probably end up looking like this:If you move/rotate the figure now or click on the A

37BodyPaint 3DRotate the view so you can see the eyelid from the top. Activate the Raybrush Render View for RayBrush Painting mode and set the brush s

38BodyPaint 3D• Avoid UV-mesh polygons that meet to a point when applying a noise texture to a Bump layer. The narrower a 3-sided polygon becomes, the

39BodyPaint 3D

40CINEMA 4D Renderer© Marco Dattilo – www.marcodattilo.comCINEMA 4D RendererThis is the Quickstart Tutorial for the CINEMA 4D renderer. It will show y

41CINEMA 4D RendererCaustics (available in CINEMA 4D Visualize and Studio) acts in a similar fashion. The global settings can be found under render se

42CINEMA 4D Renderer© Alberto “ThirdEye” Blasi2. Quick Tutorial: RenderingYou’ve been a busy bee. You have created a scene, set up the lighting, anima

43CINEMA 4D RendererUse the method with which you feel most comfortable. Often we don’t necessarily want to render the complete editor view but only a

44CINEMA 4D RendererOnly the selected objects will be rendered.Rendering the editor view gives us a quick overview of the scene but it does not offer

IVNote:As a result of continued product development, differences between the current and printed documentation with regard to referenced files can occu

45CINEMA 4D RendererYou use the Render Settings (main menu: Render/Edit Render Settings...) to determine what our final image will look like. Size, qua

46CINEMA 4D RendererIf, for example, you render a single image that will be printed with a resolution of 300 dpi on an 8.5 x 11 inch page you should r

Sample Images47© Bastien Grivet – www.grivetart.com © Olivier Jallard

Sample Images48© CreativeDirection Dinko Lacic – MTV Production AixSponza GmbH© Soonyup Song – [email protected]

49CINEMA 4D Renderer3. Quick Tutorial: Global IlluminationLight as we know it in the real world spreads on its own. It is reflected by the objects it h

50CINEMA 4D RendererCreate another material and give it your favorite color. Drag this color onto the torus.The Luminance channel turns the sky materi

51CINEMA 4D RendererCINEMA 4D will automatically turn on Auto Light in a scene if there are no light objects present. When using Global Illumination,

52CINEMA 4D Renderer You will see that a blue light is being cast on the torus and the floor. The blue sphere is not rendered because we have made it i

53ProjectionMan5. ProjectionManOnce you have completed this tutorial you will be able to save a great amount of working time and maybe even create sce

54ProjectionManThis is a very simplified version of a city scene in which a camera is animated to move in slightly to the buildings. Play the animation

1© Dimitris Katsafouros

55ProjectionManCINEMA 4D will now automatically start Photoshop and will open the rendered ProjectionMan image. You can either start painting in Photo

56ProjectionManPlay the animation. As you can see, ProjectionMan projects the texture correctly onto all three buildings throughout the animation – an

57ProjectionManWe will point this camera frontally at the light blue surfaces (side view). To create the camera, switch the Viewport to the Right view

Sample Images58© www.meusch.com © www.segnoprogetto.it

Sample Images59© Victor M. Jiménez – alvi3d.blogspot.com

60Sketch and ToonSketch and Toon This is CINEMA 4D’s Quickstart Tutorial for Sketch and Toon. Sketch and Toon is included in CINEMA 4D Visualize and S

61Sketch and Toon2. General Information/InterfaceSketch and Toon is a render effect. As you would expect you can find its settings in the Render Settin

62Sketch and ToonKeep this general rule in mind: The sketch attributes in the Render Settings determine WHAT will be rendered (contours? Hidden lines?

Sample Images63 © Marco Weiss – www.black-graphics.de © Pavel Zoch © P. Hofmann, M. Hilkert – [email protected] © Glenn Frey

Sample Images64© www.areyouplanning.de© Johan-Bernd Zweverink

2InterfaceWelcome to CINEMA 4DAfter you have worked through this tutorial you will have a good basic user knowledge which you can apply to future proj

65Sketch and Toon© Michael Stehle Design3. Quick Tutorial: Shaders and TagsIn this tutorial we will combine an object rendered in the sketch mode with

66Sketch and ToonCreate a new material in the Material Manager (Create/New Material). Deactivate the Color and Specular channels in the Basic tab of t

67Sketch and ToonOur Sketch and Toon figure is standing between two normal rendered figures. It is not necessary, though, to activate the Sketch and Too

68Sketch and ToonEven though all figures have the correct filling each of the two front figures has assumed the contour style of the figure behind it. We

Sample Images69 © www.station-nullzwei.de für Conze Informatik GmbH

70Character Tools© Takagi LeonCharacter ToolsThis is the Quickstart Tutorial for the CINEMA 4D character tools, a collection of tools especially for c

71Character ToolsSo before we explore the character tools themselves we would like to quickly go over the 12 principles of character animation. These

72Character Tools2. General InformationFirst, we will explain a few basics about character rigging in CINEMA 4D. CINEMA 4D works with a Joint system.

73Character ToolsYou can weight joints by selecting them and painting directly onto the mesh using the Weight tool. While the Weight tool is active, t

74 AutoRigger and CMotion3. Working with the Auto Rigger and CMotionCreating the Basic RigCharacter rigging for 3D animation is one of the most comple

3InterfaceNo matter if you’re just checking CINEMA 4D out or if you already own your own copy of CINEMA 4D, you already know about the incredible thin

75AutoRigger and CMotionIn the Attribute Manager you will see the Character object’s initial settings. Numerous parameters are available here. When a

76 AutoRigger and CMotionBefore we continue, lets take a look at our model in the perspective view. The parts of the rig that we have created are not

77AutoRigger and CMotionFirst we will position the rig relative to the mesh. Select the Root object in the Object Manager and use the Move tool to mov

78 AutoRigger and CMotionPosition the wrist next to the cufflinks. Six joints are located because this is where the fingers will be generated later. To

79AutoRigger and CMotionCreating a Simple Walk AnimationWe have now prepared our character so it can be animated. Select the Character object in the O

80 AutoRigger and CMotionSet the Stride value to 60cm. Now turn your attention to the list of objects in the Objects menu below and select one of the

81AutoRigger and CMotionThe Finishing TouchesPlay the animation again and observe how the arms swing back and forth. We have created a simple walk cyc

82Pose Morph4. Quick Tutorial: Pose MorphThe Pose Morph tool is a powerful tool for mixing Joints, points, UVs, parameters, User Data and much more by

83Pose MorphThe pre-defined points will automatically be selected and CINEMA 4D will automatically be switched to Point mode. In our example, the point

84Pose MorphOnce all poses have been defined we can begin mixing the poses. In the Attribute Manager, set the Mode option from Edit to Animate (Tag tab

4InterfaceClicking on the light blue Cube icon opens the parametric object group selection window, which contains all of CINEMA 4D’s available paramet

85Pose Morph5. Tips and Tricks• To create Joint poses with Pose Morph all you have to do is add a Pose Morph tag to the top-most Joint and enable the

Sample Images86© Ki Yong Sim – [email protected]

87Cloth6. Quick Tutorial: ClothCINEMA 4D contains a very powerful Cloth engine. You can use this tool to let a flag flap in the breeze or to give your c

88ClothThe shirt needs to be subdivided a little more so you can deform it better later. Switch to Use Polygon Tool mode and select the polygons on th

89ClothThese polygons will serve as the T-shirt’s seam. The Cloth engine will do this for us as well. Select Seam Polys in the Dresser menu and set it

90ClothCloth Surface acts similar to a Subdivision Surfaces object: it smooths the geometry which was subordinated to it but with a slightly different

Sample Images91© S. Scatola – www.boxy.co.uk© Creatives: Nico Cortinove & Vinicius Pegoraro (Leo Burnett Brazil) – 3D Artist: Beto Prado

92HAIR© Marcelo Biscola – www.artnetdigital.com.brHAIRCINEMA 4D Studio features a hair rendering and simulation system that you can use to easily crea

93HAIRHAIR’s only limitation is your fantasy, whether it’s creating fur for a rodent, feathers for a ruffled chicken, the perfect English lawn or the n

94HAIR2. General Information/InterfaceHAIR works with so-called guides that serve as placeholders for the rendered hair.The number of guides displayed