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The information in this document are subject to change without notice.
I
Contents
Preface __________________________________________________________________________________________________________________________________________ IV
Welcome to Cinema4D R19 _____________________________________________________________________________________________________ 2
MAXON always strives to make the learning process for new Cinema4D and BodyPaint 3D users as easy as possible.
This includes not only the interface and workflow but also the accompanying documentation. To best serve the needs
of our users we have divided the MA XON documentation into four categories, which are designed for users ranging
from absolute beginners through to professional user levels.
1. Introductory Videos
• Level: 3D newbies who want to get to know Cinema4D and BodyPaint 3D
• Topics: Navigation and interface, movement, scaling and rotation, creating objects, modifying
objects and materials, animation, lighting and rendering
• Location: www.maxon.net – Main menu: Support / Ge tting Starte d
2. Quickstart Manual
• Level: Novice users with basic Cinema4D or BodyPaint 3D skills
• Topics: see Quickstart manual’s table of contents
• Location: www.maxon.net – Main menu: Support / Downloads
3. Context-Sensitive Help System Tutorials
• Level: Users with solid Cinema4D or BodyPaint 3D basic skills who want to advance their overall
level of expertise in specific areas
• Topics: Mechanical modeling, character modeling, materials, lighting and shading, camera and
render settings, MoGraph, XPresso, animation, After Effects
• Location: Main menu: Help.
4. Reference Documentation
• Level: All Cinema4D users from beginner to professional.
• Topics: All aspects of Cinema4D and BodyPaint 3D are explained
• Location: Can be accessed via the application’s main menu: Help / Show Help... (documentation must
be installed: either automatically via Online Updater or manually as online download).
Note:
As a result of continued product development, differences between this and downloadable documentation
with regard to referenced files can occur. The most current versions can be found on the product USB stick
included in your order, or can be downloaded from the MAXON website or via the Online Updater.
After you have worked through this tutorial you will have a good basic user knowledge which you can apply to
future projects. In this Quickstart manual you will be asked to open certain files for demonstration purposes. These
can be found on your installation USB stick or on the MA XON homepage on the support / documentation page
(www.maxon.net).
To make working with this Quickstart easier, instructional text and tips have been underlain with color for easy
recognition.
Instructional text is highlighted in blue.
If you make an error in working through one of the tutorials, these colors will make it easier to locate instructional
text and tips when trying to find the location at which you may have made the error.
2Interface
No matter if you’re just checking Cinema4D out or if you already own your own copy of Cinema4D, you already
know about the incredible things Cinema4D can do. We have been working very closely with our customers for
several years now in order to satisfy their needs and wishes. This has lead to the creation and introduction of new
functionality, according to their needs. These ideas and concepts are then creatively implemented to satisfy the needs
of our customers and those of the 3D markets.
No matter if you work in the field of print, advertising, design, visualization or film, Cinema4D gives you all the tools
you need to make your ideas reality. The intuitive interface and the ease with which Cinema4D can be learned makes
entering the versatile world for 3D a snap. Cinema4D places a link between your job or hobby, and your creativity
in the palm of your hand. You can create what your fantasy demands. Cinema4D will be your dependable partner.
2. General Information / Interface
Cinema 4D Release 19 offers many new functions that will again speed up and improve your workflow. All new
features for R19 can be found at www.maxon.net.
Let’s start with the most important step – starting Cinema4D. After starting Cinema4D you will see an image similar
to the following screenshot:
3Interface
Rendered Viewport
Icon Palette
(modes)
Viewport
(perspective view)
Icon Palette (tools)
Material Manager
Object Manager
Attribute Manager
Coordinates Manager
Clicking on the light blue Cube icon opens the parametric object group selection window, which contains all of
Cinema4D’s available parameteric objects. It contains all of Cinema4D’s available predefined parametric objects.
4Interface
Click on the second icon to create a cube. Click and hold to see all available parametric objects. Before we proceed
we will increase the cube‘s subdivision. At the bottom right of the Attributes Manager you will find the Segments X,
Y and Z settings. Increase each value to 3.
Note: After an object has been initially created it is a parametric object. An object can only be modified as a whole
and not its individual surfaces (an exception are special deformers from the Deformer menu). Before you begin
modeling, the parametric object must be converted to a polygonal object. To do so, select the object you want to
convert and run the Make Editable command by pressing the c - key on your keyboard. You can now move or modify
individual points and surfaces.
Two icons to the right of the Cube Primitive symbol (black cage with white points and turquoise inner) are the
Generator objects. The most important of these is the Subdivision Surfaces object.
If a polygon object is a sub-object of a Subdivision Surfaces object (create a Subdivision Surfaces object and drag
the polygon object onto the Subdivision Surfaces object in the Object Manager) it will be virtually subdivided to a
higher degree. Visually it will be comprised of many more smaller polygons than before the subdivision (the object
automatically looks softer/rounder). As you can see in the next screen shot: The outer mesh (light blue) shows the
polygon cube’s actual subdivision.
The finer inner mesh (blue) shows the subdivision of the Subdivision Surfaces object. Change the cube‘s display mode
by selecting (deactivating) Options/Isoline Editing in the Viewport’s menu and switching to Gouraud Shading (Lines)
in the Editor’s Display menu. In the end it’s up to you how you want your objects displayed in the same menu. Then
switch to the Use Polygon Mode in the left Icon Palette. However, for this tutorial, this is the most effective way to
show the effect Subdivision Surfaces objects have on polygonal objects or primitives since it shows how the cube is
subdivided and the final result is therefore also easier to visualize.
5Interface
The advantages, especially in modeling, are obvious. Since the object contains few points (edges/polygons) that can
be edited it remains very manageable. You can drag just one point of the original wireframe and the Subdivision
Surfaces mesh, with its finer subdivision, will follow the point being dragged (The image below shows the same Cube
object – one with Subdivision Surfaces and one without).
If the polygon object were made up of such fine subdivision modeling, it would be much more complicated. You
would pull one point and only one point would be moved. All other surrounding points would retain their position.
You would have to move each one individually in order to achieve the desired shape.
The first symbol (click – hold – move mouse) moves the view. The second symbol (foreshortened double arrow) lets
you dolly in and out and the third (curved arrows with a dot in the center) lets you rotate the scene. Selecting the little
rectangle to the right will divide the entire view panel into four views, giving you multiple viewports to use. Each of
the four views has its own little rectangle which, when clicked, enlarges the respective window. Create a new scene
(main menu: File/New) and subsequently a new Cube in that scene. Zoom out a little and select the word Cube in
the Object Manager. The cube’s axis will be visible in the editor window.
Each of the axis‘ arrows can be selected and dragged in its corresponding direction. This prevents the object from
being dragged in the wrong direction in the editor view. It is often impossible to see in which direction an object is
being dragged in a 3D view. A similar method of moving an object in a single direction is to lock a specific axis in the
command palette. This prevents an object from being moved in the direction of an axis that has been locked unless
you click and drag one of the object’s own axis arrows. These objects are not locked. Select the Cube object and
then click on the Scale function at top.
The ends of the axis‘ arrows have changed from arrows to boxes. Dragging these boxes will scale the object along
that particular axis. Parametric objects (not converted polygon objects) will display little orange handles.
Important: If you are in Edit Point Mode or Edit Polygon Mode, only the selected points or polygons will be scaled.
In addition, we can no longer see the little orange handles as a result of having made the cube editable.
They make it possible to stretch and squash the parametric object on the corresponding axis. The final icon in this
group activates the rotation mode. A series of rings will appear around your object – clicking and dragging one of
these rings will allow you to rotate the object in the respective direction (heading, pitch or bank).
A well-modeled object can make a mediocre impression if the right textures aren’t used. Textures give a model color,
highlights, structure and other important surface properties. A texture placed into the Bump channel, for example,
gives the object’s surface an uneven, bumpy look without actually altering the geometric structure. This effect can be
used to imitate skin wrinkles, scars or the surface of an orange. The displacement channel works in a similar fashion,
only that it actually does change an object’s geometric structure. In short: Textures have the same significance as
the outer shape of an object because they are necessary for achieving the desired atmosphere, coloring and surface
structure.
We will begin with a brief introduction to the individual material channels:
Color: This is where the material’s color or the base color for the texture is set.
Diffusion: This channel makes your texture irregular. Through the application of a shader or a texture
your object receives a dirty or dusty look. If desired it can also influence the Reflectance and Luminance
channels, respectively, and the specular highlight.
Luminance: The material is given an illuminative property which is also taken into account in the Global
Illumination calculation.
Transparency: This is where you determine the material’s transparency.
Reflectance: Gives the material reflective characteristics and defines the material’s highlights and highlight
colors.
Environment: A texture is used to simulate an environment reflection.
Fog: This channel lets you apply a fog property to a material.
Bump: Uses an optical trick to translate light and dark elements of a texture or a shader to simulate the
height and depth of an uneven surface. Scars, wrinkles or scratches can be simulated using this channel. If
the Parallax Offset function is also enabled for this channel, the result will be even more realistic but will not
match the quality of a displacement. However, the Parallax option offers much shorter render times.
Normal: This channel is meant for use with normal textures. Normals give a low-res polygon object a hi-res
look when RGB textures containing the required properties are applied. This lets a hi-res polygon object be
replaced by a low-res object, thus saving a lot of render time and offering the same visual result.
Alpha: A texture’s transparency is determined by a material’s light and dark areas. Black equals a transparency
of 100 % and white makes it opaque.
Glow: Gives the object a self-emitting glow.
Displacement: Deforms an object using light and dark values (calculates differences in height). Do not con-
fuse this with the Bump channel which only imitates an uneven surface.
11Materials
We 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 yet have a texture applied to it. Click on CREATE/NEW MATERIAL in the Material Manager
at the lower left.
A standard material has been created. If you click on this material its properties will be made visible in the Attribute
Manager to the right. In the Basic tab you can determine which channels should be activated for this material. Go
ahead and activate the Bump channel. As soon as you have done that a new tab will appear in the Attribute Manager
for the Bump channel. Now click on the Color tab and load a texture into the material by clicking on the small arrow
next to Texture. Choose Load Image and load Iristexture.jpg from the installation USB stick.
In the mini-preview of the Material Manager at the lower left of your screen you will see the texture displayed as soon
as it has been loaded. This gives you a good overview of the materials being used in the scene.
Repeat this procedure for the Bump channel and load Iristexture_bump.jpg into the channel. This JPEG contains the
grayscale version of the iris texture which we need to create a relief effect for the surface. You can also choose Filter
(click on the small light gray arrow next to the word Texture in the Bump channel) and load the color texture here
and set its saturation to -100 %. This saves you from having to load a second image. The bright areas of the image
will later appear to be raised on the object and the dark areas of the image will appear to be somewhat indented.
A true deformation of the object will only take place in the Displacement channel. The Bump channel does not alter
the polygon’s surface but uses an optical illusion to give the surface its structure.
12Materials
Click on the material in the Material Manager with the left mouse button and drag it onto the Eyeball object in
the Object Manager (when you drag the material over the object you can let go once the arrow points down).
Alternatively you can drag the material onto the desired object (the eyeball) directly in the Editor. Just make sure you
drop the material onto the correct object if there are several in the scene or in close proximity to one another. You
can check in the Object Manager to make sure the material was dropped onto the correct object – the material icon
will appear next to the object onto which it was dragged.
You have probably noticed that the eyeball brightened somewhat after you applied the material but you aren’t able
to see the actual texture. We still have to change the offset properties and the mapping size so the texture will be
aligned properly on our object. At the moment the actual image of the iris is lying distorted on the right side of the
eyeball. You can check this by making both Subdivision Surfaces eyelid objects invisible for the editor. To do this
double-click on the top small gray dot to the right of the object in the Object Manager (until it turns red).
Double-click on the dot again and it will turn green, which makes the objects visible again independent of the visibility settings of any parent object. The dot directly below has the same function except that it affects the rendering.
Once you have made the eyelids invisible and have rotated the view a little the eyeball should look as follows:
Switch the visibility of the Subdivision Surfaces objects back by clicking again on the dots next to the object in the
Object Manager, making them gray. Click on the Texture tag at the right of the Object Manager next to the object.
It’s the material that we applied to the eyeball. You can recognize it in the mini preview of the texture in the Object
Manager.
13Materials
Once you have selected it you will see its parameters in the Attribute Manager.
Adopt the settings you see in the next screenshot:
We have just aligned the texture on the eyeball mesh by changing the Length U and Length V parameters. The
offset setting put the texture in the correct position. If you rotate your view again you will see that the iris texture
is positioned correctly.
Tip: If you want to undo an accidental change to the view just press Ctrl + Shift + Z (Mac: Cmd + Shift + Z). This
function is useful if you have inadvertently rotated the perspective view instead of the editor view. You can also
select view/undo view in the main menu of the editor view. The texture will complete our model. Experiment with
the parameters of the individual channels to find out how they affect the material. At this point we would like to
offer you a few additional tips.
14Materials
If you own Cinema4D Visualize or Cinema 4D Studio, you can render human skin realistically using Subsurface
Scattering. By placing this shader in the Luminance channel (click on the small arrow next to Texture and select
Subsurface Scattering from the Effects menu) the effect is created when rays of light meet a slightly transparent
object. Some rays infiltrate the object further and are dispersed, others are directly absorbed or bounce off.
Further possible uses for this effect would be for materials such as plastic, milk, candle wax or figurines made of jade.
You can load black & white textures into the alpha channel to influence the material based on the texture’s brightness,
similar to the way you would use them for the bump or displacement channels. The texture’s black areas would be
rendered with a transparency of 100%. As the texture becomes brighter the transparency is reduced accordingly.
White would have a transparency of 0%
If you choose Shader instead of New Material under Create in the Material Manager you will see a list of 3D shader
presets. The advantage of these shaders is that you don’t have to worry about mapping your texture or seams in your
texture because a 3D shader will be calculated for the 3D space. Here are a couple described in detail:
Cheen: Generates an electron microscope effect good for the depiction of bacteria or mites.
15Materials
Danel: Very good for simulating high-gloss finish.
Banzi: Lets you depict various types of wood.
16Materials
Banji: Calculates complex lighting situations with glass and even makes
rear-projection (shadow casting) on partially transparent materials such
as rice- or canvas paper possible.
If you are already familiar with lighting a scene in the real world then you will feel right at home with the Cinema4D
light objects. They can do everything real lights can do – and quite a bit more. In this tutorial we will set up a 3-point
lighting arrangement. This type of arrangement is used often in portrait photography to achieve an even lighting and
is an excellent method for lighting an object quickly and professionally in the 3D world.
Open the file QS_Light.c4d and adjust your editor view so the entire figure is visible to you.
We want to light up our little character. Create a floor object (Create/Environment/Floor) and position it so the figure
is standing on it.
18
Lighting
A 3-point lighting arrangement begins with setting a key light. As the name suggests, this light emits the main lighting
for the scene and will cast the main shadows. Create a light object (Create/Light/Light). Name it Main Light (doubleclick on the name) in the Object Manager.
Cinema4D has several different types of light sources. The Omni light will always be created by default. An Omni
light emits from its center in all directions. For our key light we will need a spot light which we can aim directly at
the object.
To make the key light a spot simply go to the Attribute Manager and switch the light from Omni to Spot.
19Lighting
Now 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 light. This cone is visible in the editor and can be manipulated. Now we will aim the spot
at our figure.
Position the light at the following coordinates in the Attribute Manager:
X= 300
Y= 58 0
Z= -300
at an angle of
H= 45
P= -45
degrees (enter the values and click on the Apply button).
Render the scene (Cmd/Ctrl + R).
The light now falls at an angle onto our object (If this is not visible in the Editor it may be due to the fact that your
display mode is set to Quick Shading (uses a single default light source) instead of Gouraud Shading (uses all scene
lights)). Of course the exact position of the light is strongly dependent upon the camera’s angle. Unfortunately the
light is not casting a shadow, letting the figure look like it’s floating. Cinema4D’s lights have an advantage over real
light in that you can choose which kind of shadow, if any, they should cast – a plus for any studio photographer.
In the General menu of the Attribute Manager, set the light’s shadow to Shadow Maps (Soft). We don’t want the
shadow to be completely black so we’ll make it a little transparent.
In the Shadow menu, set the shadow density to 50 %. Select 1000 x 1000 as the shadow map. Render the scene.
20
Lighting
Cinema4D offers three types of shadows: Raytraced (Hard) – a shadow with sharp edges, Shadow Maps (Soft) –
a shadow with soft edges and Area – a shadow that becomes softer the further it’s away from the object, resulting
in the most realistic shadow effect. Try the other two shadow types. Careful, the area shadow can take a long time
to render! The larger shadow map allows the shadow to be rendered more accurately.
The light’s cone is a little too small. We will change this as follows: Switch to the details menu in the Attribute Manager
and set the Inner Angle to 30 degrees and the Outer Angle to 100 degrees.
21Lighting
You 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 will support it you can set the editor’s display mode to Enhanced OpenGL with activated shadows.
(Viewport: OPTIONS / ENHANCED OPENGL) Generally speaking, OpenGL offers a much more precise depiction of
your scene and gives you an impression of how the shadows will fall).
Now we’re happy with our key light. Next we will create a more even lighting by brightening our figure a little from
the other side.
Create another light source in the scene and name it Brightener. Place it at the following coordinates:
X= -360
Y= 225
Z= -230
Select Area as the type of light.
22
Lighting
Since 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 40 %.
This area light illuminates the figure from a different angle and softens the contrast somewhat. It won’t cast a shadow
since this would cause crossing of the shadows and make the object look bad.
The scene is now pretty evenly lit, but we want to give it a little more pep. Create another light source, name it Color
and, in the Attribute Manager, set its type to Infinite. Set its color to turquoise and set its H angle to -160.
The position of an infinite light is irrelevant since it always lights your scene in the direction of the Z axis. This is why
we will leave it at the point at which it was created. It gives our Amphibian an interesting color edge and sets him
off of the background a little.
Your scene’s mood can be changed by simply changing the color of some of the lights used.
23Lighting
That completes our classic 3-point lighting arrangement. Now the real work starts. If the scene has a background,
which is often the case, it will have to be lit as well. With the proper use of omni lights details in the scene can be
brought to light very nicely. But don’t overdo it. With good lighting, less is often more. Only add lights when necessary and if the scene can actually benefit from them. Two more tips before we end: If you have several lights in a
scene and are not sure which light is lighting what, simply turn off (green check mark) all other lights in the Object
Manager. The light which remains will be the only one visible.
One trick you can use while aiming lights is to view the scene from the perspective of the light. Select the desired
light in the Object Manager and activate Set Active Object as Camera in the editor view’s Cameras menu. Selecting
this option lets you view the scene from the point of view of an active object, in our case the light. Moving the editor
view will automatically change the position of the light when in this mode. This way you can see how the change of
position of the light affects the lighting of the object in real-time (Gouraud Shading must be active in the editor view).
Once you have reached the desired angle and position you can return to the editor view by selecting Use Camera/
Default Camera from the Cameras menu.
• Cinema4D has been able to build a large community of users around it who are more than happy to help
newcomers in any way possible, be it through the use of home-made tutorials, directly in one of the many forums
or by offering free models, plugins, expressions or textures.
• One of the main sources of information, of course, is the MAXON web site www.maxon.net
• Here you will find news, interesting projects that were done with Cinema4D, an extensive Cinema4D link library
and even a form for questions for our support department.
• Flipping through books which don’t have anything to do with computer graphics can also be helpful. 3D is a
complex field in which many of the classic arts and techniques are combined. Books about photography, lighting,
direction, acting, image creation and painting should be part of every serious 3D artist’s library. In addition, you
will find a wealth of information on all of these topics online.
• Since the Internet is always changing, doing a search for Cinema4D in various search engines would be a good
idea.
• The Internet is a good source for finding models. Through its special image search function you can find photos
or drawings of practically any object.
• Even mail order catalogs can be a great source of information on how an object is supposed to look.
• You can also check out www.turbosquid.com if you‘re looking for professionally modeled objects and high-end
textures. You can either purchase available items or choose from their selection of free objects and textures to
spice up your scene – or simply use as reference for your own creations.
26
Lighting
• Textures are all over the Internet as well. Note that almost all image are copyright protected and cannot be used
commercially. Taking your camera and photographing textures yourself is even better. Inspiration is everywhere.
You can build your own texture archives in no time.
• Try to get away from the technical point of view. Learning a software is only a matter of time. A good 3D artist
has the ability to use software as a tool that helps him realize his ideas. The real creativity lies with the idea,
not the software. So when you create your next scene don’t worry so much about creating the perfect object.
Concentrate rather on how you can make a harmonious composition with this object with a fitting theme and
proper lighting. Also, think about the message you are trying to send to the viewer. The same goes for animators.
A technically perfect animation is a great achievement but it will put your audience to sleep if the concept is
bad. It’s not so bad, on the other hand, if your animation is a little bumpy and imperfect but your story touches
the viewer.
• We hope this manual will help you master the technical part of 3D graphics. What you do with what you’ve
learned is in your hands.
This is the BodyPaint 3D tutorial. In this tutorial we will explain the most important functions in order to give you a
running start in the world of 3D painting. Even if BodyPaint 3D appears to be dicult at first, you will soon notice
how intuitive BodyPaint 3D really is. In this tutorial we have also put an emphasis on a fast learning curve and a high
degree of user friendliness for this application. Let’s start with its structure.
BodyPaint 3D will revolutionize the way you work with textures in such a way you will wonder how you ever got along
without it! With BodyPaint 3D you can paint your models as they are: in 3D. This is what BodyPaint 3D, the revolutionary way to texture objects, is all about. In addition, BodyPaint 3D lets you paint in several texture channels at once.
Projection Painting is a tool we have integrated that makes it possible to paint on complex objects without distortion.
28BodyPaint 3D
Using 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 a polygon mesh that projects the texture onto a polygon object. The days of 2D texturing are
over and you can finally concentrate on what’s important in texturing: creativity. Everything that took up so much
time with 2D texturing is now done by BodyPaint 3D and you can deliver your projects faster. Let’s move to the user
interface (BodyPaint 3D is a component of Cinema4D and can be activated by simply selecting BodyPaint 3D from
the Cinema4D Layout menu at the top right of the GUI).
Here 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 the UV-mesh editor window which gives you more room in the editor window to paint.
1. Viewport
Here you can see the object you will be painting. You can rotate, move and zoom the window as needed.
2. Texture Window (UV Mesh Editor Window)
This is where you edit your UV-mesh. You can relax and restore your UV-mesh. If you use the UV-Manager’s UV-tools
you can watch how the texture relaxes. You can also watch the color application process in this window, which will
then be visible in the editor window right away.
3. UV Manager
The UV-Manager lets you restore the UV-mesh using an algorithm. It recognizes layered polygons and attempts to
relax the UV-mesh for optimal placement over the entire surface and, if necessary, new placement. All remaining
relaxation can be adjusted manually.
4. Attribute Manager Window
Different tabs display different brush types and their respective attributes as well as the UV Manager’s UV tools.
5. Object Manager, Material Manager and color settings
The Object Manager, Material Manager and Color Manager are tabbed in the lower left corner of the interface. As
in the standard layout, the Object Manager displays all the objects in your scene.
The Material Manager in this layout has expanded functionality, allowing you to manipulate individual material layers
and paint on multiple channels at once.
Within the Color Manager, you can set up the color or texture that you’d like to paint within each channel.
6. Icon Palette
The command palette contains the Paint Wizard, the Projection Painting and many other tools (that you’re probably
used to using with 2D paint programs). The BodyPaint 3D Wizard eliminates the need to manually create a texture
including the UV-mesh. It also calculates the texture size and channels. Without these bothersome preparations you
can begin painting right away.
Now 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 course of this tutorial we will alter the color of his right eyelid a little and apply a Bump layer to give
a more elephant-like look to his skin.
Select the predefined standard layout BP UV Edit at the top right of Cinema4D’s main editor window. Click on the
BodyPaint 3D Wizard Icon so we can make the necessary preparations to the texture (brush symbol with white stars).
Click on Deselect All in the window you just opened and apply a green check mark to the eyelid right object only.
We have just determined that a texture should be created only for the right eyelid object. Click on Next. Leave the
settings in the next window the way they are. The selection Single Material Mode would create a texture for each
object individually. If the box is checked all objects will share one texture surface. Click on Next again. In the next
window check the Bump channel. The Color channel is selected by default. You can double click the little gray boxes
next to each texture channel and assign each channel a base color.
Since Claude likes elephant gray we will leave the boxes the way they are. Leave the rest of the settings the way they
are and click on Finish, then on Close in the next window. The basic textures have been created and we can start
painting. If you have experience with earlier texturing methods and the time it took to even get started BodyPaint
3D will seem like a blessing to you. BodyPaint 3D saves you a lot of time. Now let’s move to the second part of the
tutorial: the UV-meshes and the first brush stroke.
32BodyPaint 3D
3. Quick Tutorial: First Painting Lesson
At the bottom left of the Material Manager (in the Materials tab) you will find the textures we just created, right
next to Mat.
This is the default name for a new material. Of course you can rename the material if you like. The first texture is the
color layer and the second is the Bump layer (at the top of the window you will see the abbreviations which refer to
these layers – C for color and B for bump).
Now Select the Use UV Polygon Edit Tool symbol.
Once you have selected the corresponding texture in the Color channel the UV-mesh should become visible in the
texture window at the upper right. If the mesh is not visible, activate it by clicking on UV Mesh/Show UV Mesh in the
texture window menu. Luck is on our side! Fortunately, the default UV mesh looks pretty good. The only problem is
that the UVs corresponding to the eyelids (highlighted in orange in the next image) are too small.
BodyPaint 3D
33
The individual UV-mesh polygons of these eyelid edges take up less texture area than the rest of the polygons. That’s
why a texture placed into the Bump channel appears larger in these places (photograph of elephant skin, for example).
We can do without this, though, since we are painting our own skin structures onto the surfaces and not using an
existing texture. We can counter any distortion we encounter when painting manually by using Projection Painting.
The stroke will maintain its width no matter how the polygon is spread over the mesh.
Move and zoom the editor window view until Claude’s right eyelid fills the view.
34BodyPaint 3D
Now 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 Manager…
…and select a pink color in the Color Manager.
If necessary, increase the Subdivision Surfaces subdivision for the Viewport because the eye image has a very low
resolution without Subdivision Surfaces.
Activate Projection Painting (so you can paint without distortion and across any UV seams) and start painting.
Of course BodyPaint 3D supports the use of graphic tablets such as a WACOM Intuos. Painting objects with a pressure
sensitive pen on a graphic tablet is much easier than painting with a mouse.
BodyPaint 3D
35
Paint 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 Apply Projection (click and hold on the Activate/Deactivate
Projection Painting button to make the other icons visible)
you will see how the color was applied to the texture (you can see the recently applied strokes of color in the window
to the right).
You can take the same steps for the Bump layer. We will take you one step further, though, in order to be able to
explain an important function. We will paint both layers at the same time! Select the texture in the Color channel of
the Material Manager. Now click on the icon with the black/orange pencil at the left of the Material Manager. Select
the pencil icon next to the B of the Bump channel as well.
You have now told BodyPaint 3D that you want to paint in both layers at the same time. If you like you can switch from
the standard BP UV Edit layout to the BP 3D Paint layout. This gives you more room to work in the editor window.
36BodyPaint 3D
Rotate the view so you can see the eyelid from the top. Switch to the color layer’s Color menu and set the color to
a medium gray which will be the base color for our eyelid. Now go to the Bump layer’s color preview and set the
color to black (both color layers are located in the Materials tab under the letters C and B + pencil symbol). When
you paint on the object you will notice that both colors are being applied to the object – the gray base color and the
black (to indicate indentations).
If white were the color of the Bump channel it would raise the brush stroke instead of indicating indentations. The
result could look like the following image.
Load the QS_BP3D_Final.c4d file and take a look at it when you have time. Here are some everyday tips with which
you can achieve great results quickly and easily.
BodyPaint 3D
37
4. Tips and Tricks
• A very helpful function can be found in Cinema4D’s preferences (Ctrl + E). In the BodyPaint 3D menu you will
find the function Project On Invisible Parts, which, when activated, allows you to paint on both sides of an object
in projection paint mode. Let’s assume you want to color the arm of a figure or sprinkle color on the entire figure.
With this function deactivated you would have to apply the color with this function deactivated, rotate the arm,
apply the color, rotate the arm and, well, you get the idea. When this function is activated you apply the color in
the front view and the color is applied to all surfaces lying behind this surface at the same time. Just make sure
you don’t apply color to objects you don’t want to color when this function has been activated.
• If a texture map does not fit correctly at the point where large and small polygons meet (in the case of low-poly
objects that are subordinates of Subdivision Surfaces) set the Tile UV’s function, in the respective Subdivision
Surfaces Object’s Attribute Manager, from Edge Standart to Boundary to Edge. This sends the UV-mesh through
the Subdivision Surfaces algorithm and subdivides it to fit the polygon object.
• 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 coarser the bump noise channel will be rendered. Of course such a polygon has
much less area for the noise structure at its tip than it does at its center which results in a magnification effect
of the noise structure.
• Try to set up each side of a triangulated polygon as an isosceles. This also goes for 4-point polygons when they
converge into a trapezoid. The more square the polygon the more even the structure will be. It goes without
saying that you need different brushes for different texture looks. Cinema4D has a wide variety of brush types
for you to use. Just select the tab Attributes and click on the small arrow on the brush preview.
• Here you will find a wide variety of preset brushes corresponding to natural media and detail effects. You can
also load preset brushes from Adobe Photoshop, and save your own brushes. Just make the changes you want
and click on the Save Brush button.
• Now that you’ve gotten a brief introduction to BodyPaint 3D’s painting tools, you can experiment and practice
adding details to your own models.
This is the Quickstart Tutorial for the Cinema4D renderer. It will show you many of the Cinema4D renderer’s typical
applications and covers some theoretical physics behind the effects.
1. General Information / Interface
As soon as you open the Render Settings (main menu: Render/Edit Render Settings...) you will find parameters such
as Global Illumination by clicking on the Effect... button. If Global Illumination is enabled, other options will be
made available, which allow you to create custom settings for radiosity. A material’s illumination settings are closely
associated with the render settings. These settings let you determine if a particular material should be rendered with
Global Illumination. Further settings can be applied to individual objects using the Compositing tag.
40Cinema 4D Renderer
Caustics (available in Cinema4D Visualize and Studio) acts in a similar fashion. The global settings can be found under
render settings. Here you can activate or deactivate surface and volume caustics separately. In addition, caustics also
offers a third setting. You will find this in the light object. The use of caustics requires at least one light object. Within
a light’s caustics menu it is possible to determine whether the light source should generate surface or volume caustics.
Depth of field, highlight and glow are additional post effects available in Cinema4D Visualize and Studio. You will find
them in the Render Settings under Effect. Further settings for depth of field can be made in each camera’s attribute
settings. A post effect will first be calculated after an image has been completely rendered. You can imagine it as a
layer which is placed on top of the image after it has been rendered.
You’ve been a busy bee. You have created a scene, set up the lighting, animated objects and assigned materials to
them. Now we want to see the result of all this work. What you have to do is to transform this 3-dimensional scene
into a 2-dimensional image (in the case of an animation it would be an entire series of images). We will render the
images. Open the file QS_Render_01.c4d to work through the following tutorial. Cinema4D offers a wide variety of
options for rendering your 3D scene in a Viewport:
1. Using the main menu
2. The keyboard shortcut Ctrl+R
3. By clicking on the icon in the editor window (the clapboard farthest to the left)
42Cinema 4D Renderer
Use the method with which you feel most comfortable. Often we don’t necessarily want to render the complete
editor view but only a small part of it. This is also no problem. Select Render/Render Region. The cursor will be transformed into a cross. Drag a frame around the region you wish to render.
The second possibility is to render only a single object. Select the object Master in the Object Manager. Select the
command (Render/Render Active Objects).
43Cinema 4D Renderer
Only the selected objects will be rendered.
Rendering the editor view gives us a quick overview of the scene but it does not offer the possibility to process this
image further, to save it to the hard drive, for example. To save your renders or render a full animation, select Render/
Render to Picture Viewer or press Shift + R. The picture viewer will open in a separate window in which the scene
will be rendered. When the image has been rendered select File/Save As. A further window will open. Select the
appropriate format and confirm with OK.
Of course you can also save a series of images as an animation. To do so, change the Frame Range from Current Frame
to All Frames, and set Format to QuickTime Movie, for example. Rendering to the Picture Viewer has the additional
advantage that you can continue working on your scene if the image should take a while to render.
44Cinema 4D Renderer
You use the Render Settings (main menu: Render/Edit Render Settings...) to determine what our final image will look
like. Size, quality, single image or animation can be set here.
If your rendered objects appear pixelated at their edges, this is a result of the anti-aliasing settings. This term refers to
how smoothly an edge is rendered. Open the file QS_Render_01.c4d. In the Render Settings menu, set anti-aliasing
to None and render the scene.
You can plainly see pixelation along the wire now as well.
Now set anti-aliasing to Best and render the scene again. All edges have been rendered much smoother without
losing clarity.
To quickly check the scene you can leave the anti-aliasing set to None or Geometry. None renders the edges without
anti-aliasing and very quickly. Geometry renders the image with sucient smoothing and offers a good compromise
between quality and speed. You can select the best quality when you render the final image. The Filter menu lets
you select the type of anti-aliasing filter.
The parameters you modify/define in the Output and Save Render Settings menu depend on the requirements of
your scene.
45Cinema 4D Renderer
If, 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 render the image with a resolution of at least 2550 x 3300. If you want to print the image in a picture size
of 3 x 5 inches, a render resolution of 900 x 1500 will be more than enough.
For animation, the frame rate, which is also editable in the Output menu of the Render Settings, plays an important
role in animation. The frame rate is the speed at which the animation plays. A frame rate of 25 means that 25 images
per second will be played. If you produce an animation for the European market you will have to adhere to the PAL
standard which uses an output size of 768 x 576 pixels and a frame rate of 25. If you produce a movie the frame rate
must be set to 24 and a much higher resolution than for television.
Light as we know it in the real world spreads on its own. It is reflected by the objects it hits. This differs depending
on an object’s surface characteristics. Imagine a room with a window on one wall. Light is being cast through the
window onto the floor of the room. The light doesn’t stop there, but is reflected from the floor onto other objects
which, in turn, reflect the light themselves. The room is lit by diffused (indirect) light.
The raytracing procedure does not take into account diffused light. For example, if only one light is used, everything lying in the shadows will not be visible. Maybe you have already built a virtual room into which a light
source is shining through a hole in the wall. The light in the virtual world hits an object, lights it – and that’s it. The
light spreads no further. Global Illumination rendering is different. Global Illumination rendering lets every object
within the scene act as a light source. As you will see, you can actually light a Global Illumination scene without
using a single light! Open a new (empty) file. Create a sky object (Create/Environment/Sky) and a floor object
(Create/Environment/Floor). The sky object encompasses the entire scene like a large sphere. The floor surface is
an infinite surface. Create a Torus (Create/Object/Torus) and move it to a y-position of 100, slightly above the floor.
Now we will light the scene with diffused light using Global Illumination rendering. We will use our sky object as
the light source. Switch to the Material Manager. Create a new material (Create/New Material; alternatively you can
simply double-click on the Material Manager’s gray field). Switch to basic in the Attribute Manager. Deactivate color
and reflectance and activate luminance. Drag the material from the Material Manager onto the sky object in the
Object Manager.
49Cinema 4D Renderer
Create another material and give it your favorite color. Drag this color onto the torus.
The Luminance channel turns the sky material into a light source. Since the sky object spherically encloses the entire
scene, it acts as a huge lamp which lights the torus from all sides. This effect will only be visible when we use Global
Illumination as the render mode. Open the Render Settings (Render/Edit Render Settings). Click on the Effect... button
and Global Illumination. Switch to the Render Settings’ Options menu.
Rotate the scene in the editor so the view is at such an angle as to show only the floor in the background. This speeds
up rendering since the rendering will only be done to the horizon. Render the scene.
50Cinema 4D Renderer
Cinema4D will automatically turn on Auto Light in a scene if there are no light objects present. When using Global
Illumination, this automatic function is excluded since it would make the scene much too bright.
Create a sphere (Create/Object /Sphere). Move the sphere along the X-axis a little to the right and a Y-position of 100
until it’s next to the Torus. Copy the sky material (Ctrl + drag into the Material Manager) and switch to the Luminance
channel of the new material. Use the color sliders to create a bright blue. Drag the material onto the sphere.
We now want to use the blue sphere as a light. We don’t want the sphere to be visible, but only to emit its blue color.
You achieve this by using the Compositing tag.
Apply a Compositing tag to the sphere in the Object Manager (Tags/Cinema4D Tags/Compositing). Switch to the
Attribute Manager and deactivate all options except Seen by GI (Global Illumination). Render the scene.
51Cinema 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 invisible using the camera’s Compositing tag.
4. Tips and Tricks
• Rendering often requires you to make a choice between speed and quality. Especially scenes using Global
Illumination or Caustics can take a long time to render. This is why we recommend that you experiment with the
Parameters and to initially use low values. For example, set the Global Illumination Diffuse Depth value to 2 to
begin with (the diffuse depth can only be modified if Quasi-Monte Carlo is set to Secondary Method) and make
a test render. If the illumination provided by GI is still too dark, increase the Diffuse Depth value gradually until
you achieve the desired result. However, avoid increasing this value above 4 since this will increase your render
times enormously! If the Secondary Method is set to Light Mapping, a Maximum Depth value of 16 can be used
for starters and increased if the scene is too dark.
• Make generous use of Compositing tags. This makes it possible to reduce the exactness of the rendering, thus
reducing rendering times greatly. As you already know, Cinema4D allows you to animate effect parameters so
that you can make changes to them at any time. Imagine caustics that change as you wish or the focusing of a
camera.
• Load a bitmap image in place of a color into the Luminance channel of a material that you use to illuminate a
Global Illumination scene. The objects will then be lit with the colors of the image. This looks especially good
if you use HDRIs. HDRI is an image format that contains special image luminance information and is thus an
excellent choice for this effect. You can find information about HDRIs online.
• You can pep up your scene even more with the post effects Highlights and Glow. Using highlights you can give
your material’s highlights any form you wish, like a star, for example. Glow does just what the name says – it lets
a material glow. Try it!
52Cinema 4D Renderer
5. Projection Man
Once you have completed this tutorial you will be able to save a great amount of working time and maybe even
create scenes you never would have been able to without this tool. This tutorial is primarily geared towards matte
painters but can also be used by any 3D artist to keep from having to texture a great number of objects. For those
of you unfamiliar with the term matte painting, here is a brief description of what this is: Matte painters mostly work
in the movie industry and create (paint) background imagery for movie scenes. These backgrounds are for the most
part so realistic that the viewer assumes they are real-world backgrounds. An example of matte painting is a scene
in which a king on his horse rides across a virtual landscape that, on the one hand, does not exist in the real world
and on the other hand does not have to be built in 3D. The matte painter paints the desired background and the king
and his horse are simply composited into the scene.
Advancing technology has also made it possible to create matte paintings in 3D using a computer, which makes it
possible to animate a camera and maintain a correct angle of view of the background. This would not be possible
using traditional 2D techniques. The disadvantage (if you can call it that) to using 3D matte painting is that a single
image cannot be used – the scene must be modeled and all objects must be textured. And this is exactly where
Projection Man comes in.
Let’s say you have a scene with a city containing hundreds of buildings. Instead of having to texture each one of
these buildings all you have to do is create one or maybe two matte paintings and project it correctly onto the scene.
You define the camera’s position and start Projection Man that in turn calculates the location of the geometry and
starts Photoshop. In the image that opens in Photoshop or image application you can now paint from the angle of
view of that Cinema4D camera. When you have finished painting, save the image in Photoshop and reload it in the
corresponding material channel in Cinema4D.
Done! Projection Man will now project your painted image onto the geometry of that object (or even several objects)
in real-time. Sound complicated? Then let’s work through the following tutorial together and you will see how this
tool can free up valuable time for many artists around the world!
Open the file, QS_PMan_Start.c4d
53Projection Man
This 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 once (small green arrow below the Viewport). You can see how the angle of view changes. In traditional matte painting we would have a simple zoom in which the angle of the front building would not change in relation
to the others. Our buildings, however, still need to be textured. Each building could be textured individually (which
would normally not be much work for just three objects) or you can use Projection Man (e.g. if you had five hundred
buildings staring at you waiting to be textured). Our scene contains two cameras. In order for Projection Man to be
able to open Photoshop, the correct path to the Photoshop executable file must be entered in Cinema4D. Open the
Cinema4D Projection Man preferences menu (main menu: Edit/Preferences/Projection Man). Enter (or navigate to)
the location of the Photoshop.exe file on your computer. Let’s take a closer look at our scene.
The first camera (Camera projection) is the camera that Projection Man will use to project a painted image onto the
surfaces of the buildings.
The second camera (Camera animation) is the camera through which we just viewed the animated approach to our
buildings. We must now let Projection Man know which objects it should use for the projection. And this is how
it’s done:
Make sure you return your animation to frame 0. Select Window/Projection Man from the main Cinema4D menu. In
the window that opens, select all three cube objects and drag them onto the Camera projection object above (same
window). Select Coverage Render from the selection menu that opens.
Enter the location to which you want to render the .psd file and click on OK. Confirm the prompt that follows with
Yes .
54Projection Man
Cinema4D will now automatically start Photoshop and will open the rendered Projection Man image. You can either
start painting in Photoshop right away or create a new layer and create your matte painting. In order to get to know
how Projection Man works, edit your own image to look like the one below. Of course you can use your favorite
colors if you want.
After you have finished modifying your image in Photoshop, save the image. Use the current name and location –
otherwise Cinema4D will not be able to locate the image!
Return to your Projection Man scene in Cinema4D. In the Material Manager, at the bottom left of your interface,
you can see that Projection Man has automatically created a new material. Double-click the material and switch to
the Luminance channel in the window that opens.
Tip: Projection Man creates the texture automatically in the Luminance channel. This ensures that the scene remains
completely unaffected by lights. After all, the scene is supposed to assume the color and brightness traits of your
painted texture. This, however, can be changed by either deactivating the material’s Luminance channel and loading
the .psd file into the Color channel or by changing the Projection Man default settings in the Cinema4D preferences
menu so the .psd file is automatically loaded into the Color channel.
55Projection Man
We are now in the material’s Luminance channel. Click on the small triangle next to the Texture parameter and select
Reload Image. This updates the texture and includes the changes we just made in Photoshop. Now close the Material
Manager and your scene should look like this:
Play the animation. As you can see, Projection Man projects the texture correctly onto all three buildings throughout
the animation – and that without having to texture each individual object.
Now we will take Projection Man a step further and add a few windows to the side of our buildings. Normally, painting windows onto the surfaces at these angles would be quite dicult but all we have to do here is add a camera
to project the desired image information onto the correct surfaces.
56Projection Man
We will point this camera frontally at the light blue surfaces (side view). To create the camera, switch the Viewport
to the Right view (Viewport menu: Cameras/Right) and center the view if needed. Create a new camera (main menu:
Create/Camera/Camera). Rename the camera Camera right in the Object Manager (double-click on its name). Switch
to this camera’s view by clicking on the + symbol next to its name.
Again open the Projection Man window (main menu: Window/Projection Man) and drag Cube 1 and Cube 2 onto
Camera right. Select Coverage Render and confirm all prompts with Yes. The newly rendered image will also be
opened in Photoshop.
Edit the image to look (more or less) like the one below:
Save the Photoshop file, and return to Cinema4D. Again a new material has been created, this time with the name,
PMat Camera right. Double-click the material’s icon and reload the image in the Luminance channel. The texture
will be updated in the Viewport immediately and the windows are projected correctly onto the objects. Play the
animation.
You now know how easy it is to texture a scene using Projection Man, even without prior knowledge of 3D texturing. If needed, more cameras can be added and used for projection in order to create longer and more complex
camera animations or to compensate for areas that may not have been mapped by another camera. As you saw in
our example, all you need for a simple zoom animation is a single view and a single painting. If the camera were to
move from left to right you would most likely have to create a matte painting for the start and end positions of the
animated camera. In any event, Projection Man saves you from having to texture all 15 876 buildings in a single city!
This is Cinema4D’s Quickstart Tutorial for Sketch and Toon. Sketch and Toon is included in Cinema4D Visualize and
Studio. This tutorial will introduce you to some of this renderer’s fantastic creative possibilities.
Sketch and Toon belongs to the NPR family. This is an acronym for Non-Photorealistic Renderer and simply means
that it’s not the renderer’s intention to generate highly realistic images but to do exactly the opposite: To generate
images that look like they were created using traditional animation techniques. Do you want your scene to look like a
technical blueprint or maybe a pencil sketch? Do you want to give your animated characters that traditional animation
look? No problem for Sketch and Toon!
Sketch and Toon is very easy to operate. For instant results you can fall back on one of the many presets Sketch and
Toon provides. Otherwise you can have a ball with Sketch and Toon’s different settings. You will quickly realize that
Sketch and Toon is a very powerful tool that offers limitless possibilities. You can take influence on practically any
imaginable parameter. This gives you a cornucopia of render styles and you will never break the boundaries of Sketch
and Toon – we promise! If you want to get a taste of how you can metamorphose your images just skip ahead to
our gallery.
60Sketch and Toon
2. General Information / Interface
Sketch and Toon is a render effect. As you would expect you can find its settings in the Render Settings (Render/
Edit Render Settings). As soon as you have selected Sketch and Toon from the Effect button’s menu a wide array of
settings is put at your disposal. These parameters let you determine the basic look of your Sketch and Toon renderings.
There’s more. You will also find Sketch and Toon elsewhere within Cinema4D. Take a look at the Material Manager.
A sketch material is created as soon as the Sketch and Toon effect has been activated. This is a material especially for
the depiction of contours in a Sketch and Toon rendering.
You will also see that there are many more settings in association with this material in the Material Manager. These
settings are global and affect the entire scene.
61Sketch and Toon
Keep this general rule in mind: The sketch attributes in the Render Settings determine WHAT will be rendered (contours? Hidden lines?), and the material attributes determine how something will be rendered (Line width? Line color?).
Of course not every object has to be rendered in the same style. You can create an arbitrary amount of sketch materials and assign them to different objects. This makes combining a pen drawing with a cartoon object no problem.
After all, Sketch and Toon offers four Sketch Shaders. These can be placed into the channel of a normal material just
like any other shader. We suggest you place them into the Luminance channel. These shaders work independently,
which means Sketch and Toon does not have to be active. The shaders are: Art for effects such as oil or acrylic painting, Cel for a cartoon-like style, Spots for a halftone print effect and Hatch for cross hatching.
In this tutorial we will combine an object rendered in the sketch mode with an object rendered in the normal mode
in the same scene. We will also examine the Cel shader, one of four special sketch shaders. Our goal will be to assign
different render styles to each of three objects. The first object will only have a contour and it should look like it was
hand-drawn. We will test the cel shader on the second object and give it cartoon-like colors. The third object will
look like a normal Cinema4D object rendered with standard settings.
Open the file, QS_SaT_Start.c4d.
65Sketch and Toon
Create a new material in the Material Manager (Create/New Material). Deactivate the Color and Reflectance channels
in the Basic tab of the Attribute Manager. Activate Luminance and switch to the Luminance tab. Click on the small
arrow to the right of the word Texture. Select Sketch/Cel.
Tip: A material can also be edited by simply selecting (single click) it in the Material Manager. The material‘s settings
will be displayed in the Attributes Manager at the right of the interface. This lets you avoid having an additional
floating window open, which is the case if you double-click on a texture in the Material Manager.
The cel shader is a type of gradient shader. It can be loaded into any channel but for a cartoon-like look it should
be put into the Luminance channel where its colors will always be rendered as full-tone and will not be influenced
by the scene’s lighting.
Click on Cel. The cel settings will appear. 3 shades of blue are preset here by default but they don’t really match our
figures. Double click on the color sliders and create three colors with a green hue.
The number of colors represents the number of color steps an object will be colored with. 1– 2 colors is always good
for a cartoon look. Drag the new material in the Object Manager onto Whimp_middle and render the scene.
66Sketch and Toon
Our Sketch and Toon figure is standing between two normal rendered figures. It is not necessary, though, to activate the Sketch and Toon render effects in order to use a sketch shader. Now we will beautify the rear figure with
a contour.
Activate the Sketch and Toon effect in the Render Settings. Switch to the Shading tab and select Background in
the drop-down menu next to the word Object. Only the contour should be visible on the rear figure so we will set
its Inner Color to the same as the background color. If we were to render the scene now the other figures would
appear white as well so we will tell sketch that these settings should only apply to the rear puppet. Deactivate the
All Sketched Objects parameter. Select Include next to Mode and drag Whimp_back from the Object Manager into
the text field under the menu. The shading settings will now only apply to this object.
Select the Sketch material that was just added and in the Attribute Manager’s Main tab, change Presets to Pencil
(Soft Sketch). Render the scene.
67Sketch and Toon
Even though all figures have the correct filling each of the two front figures has assumed the contour style of the
figure behind it. We will deactivate the contour rendering for these two objects completely. Select Whimp_front
and Whimp_middle in the Object Manager and select Tags/Sketch Tags/Sketch Render. Deactivate Allow Lines in
the Attribute Manager.
We’ve done it! Three objects, each with completely different render styles coexisting peacefully in the same scene.
4. Tips and Tricks
• Sketch and Toon offers several levels of control. If you are taking your first steps with this tool and are a
little overwhelmed by the countless buttons and sliders simply set the level of control to Easy (either in the
Render Settings or in the sketch material attributes). Several functions will then be hidden. Once you feel more
comfortable with Sketch and Toon (which shouldn’t take too long after having completed this tutorial) you can
move to the next level.
• The time it takes to render a Sketch and Toon scene depends on the size and/or complexity of your scene. If it
takes too long, check for objects in the scene that can excluded from the rendering process using tags. Lowering
the anti-aliasing quality (contour smoothing) can speed your rendering up as well. Make use of Sketch and
Toon’s flexibility. You can assign different styles to visible and invisible lines, just as you can assign a different
style to individual objects in your scene. The combination of standard rendering and Sketch and Toon can result
in especially spectacular images.
• Use the countless presets, especially in the beginning, to give yourself a good working knowledge of Sketch and
Toon. If you find a preset that you really like, examine it closely and see what all it can do when you apply your
own settings. This is the best way to find out how Sketch and Toon ticks.
This is the Quickstart Tutorial for the Cinema4D character tools, a collection of tools especially for character animation. Cinema4D includes a complete toolset for character animation. Many of these tools are available in all packages
and some are available only in Cinema4D Studio.
1. Introduction
3D character animation is a complex subject. It not only challenges the software but the animator as well. Almost
anyone can quickly create a character that moves in one way or another, but a convincing character animation requires quite a bit more work. The animator needs to know the theory behind character animation before he or she can
judge whether or not the animation is good or bad.
70Character Tools
So before we explore the character tools themselves we would like to quickly go over the 12 principles of character
animation. These 12 rules were developed back in the 1930s by Disney animators and can almost be applied 1 : 1 to
modern 3D animation. They are useful not only for characters but for just about anything you animate. Anyone who
is serious about character animation should stick these rules to the ceiling over their bed (and get rid of whatever else
that is up there now). A convincingly animated character will then be only a matter of patience.
Squash & Stretch: every organic object deforms in some matter when it is in motion. Squash and stretch is
the exaggeration of this effect when a character is in motion.
Staging: is the setting up of an animation. This includes lighting, camera angle, effects and slow motion.
Anticipation: expectation of a reaction to an action is known as anticipation.
Pose to Pose / Straight Ahead: these terms describe two animation techniques. Pose to Pose sets two
important key poses and the time between is then filled. Straight Ahead sets one key after the next – straight
ahead through time.
Follow Through / Overlapping: the impetus or the overlapping of movement of a body parts.
Ease In / E ase Out: an object begins to move slowly, reaches its top speed and slowly comes to a halt.
Arcs: in nature almost every movement is described as arcs, no matter if it’s a swinging arm or the rotation
of a head.
Secondary Action: movement that is created by movement of another object.
Timing: the speed with which an action is executed.
Exaggeration: can be used in many instances: Arms that are being stretched too long when a character is
hanging from a cliff, eyes jumping out of their sockets to help demonstrate a shocked expression.
Appeal: a character’s impression, look and nature.
Personality: like an actor, a good animator must be able to make his character express himself.
You can find more detailed descriptions of these rules online or in any good animation book. These rules might seem
pretty extensive at first glance but the more you animate the more they will become your own flesh and blood. Every
time your animation looks a little weird it will most likely be because you didn’t follow one or more of these rules.
Now we want to put these rules to use.
71Character Tools
2. General Information
First, we will explain a few basics about character rigging in Cinema4D. Cinema4D works with a Joint system. Simply
put, this system lets you assign joints and appropriate locations that will in turn be linked to the mesh and used to
rotate and move your character. The mesh will follow the joints to which it is linked and the character can be animated. To be able to correctly move your character a rig consisting of controllers must be set up that serve as handles
for the animator. This way not ever y individual joint of an arm must be moved in order to position the hand at the
desired location – only a single controller has to be moved. There are additional character controllers and helpers for
character animation. A few of them are explained below.
The Morph tag lets you create various facial expressions for your characters and morph between them. Your polygon object acts as the reference and a base morph (starting position for all following morphs) and target morph
are created in the Pose Morph tag. You select the morph target in the Morph tag and change the mesh...finished!
You create another morph target for each additional pose and model the poses one after the other. All the expressions are stored in a single tag. Also, when using the Pose Morph tool, there’s no need to worr y if you have to make
changes to the mesh after creating the poses. The poses will still work! Suppose you’ve created all the poses for your
character, but decide it would look much better with a second nose. The Pose Morph tool will still happily morph
between the poses.
Vamp gives you the possibility to transfer data from object to another, including selection information, Texture tags,
vertex maps and UVs. You can even transfer facial poses from one character to another!
Visual Selector is a great help with day-to-day animation. You load a render of your character into Visual Selector‘s
background (or use Visual Selector‘s default character picture) and place your character‘s controllers onto the picture
in the appropriate places. Visual Selector removes the need to keep looking for your character‘s controls in the Object
hierarchy. Everything is now represented visually and you can, for example, select the foot controller by clicking on
it directly in the picture. You want to move the eyes? No problem. Click on the controller for the eyes directly in the
picture.
You‘ll find the Cinema4D character animation tools in the main menu under Character.
Since character animation is a complex subject matter, the following overview may help if you’re new to the process
of rigging characters.
As with a real human, your character needs a skeleton of bones (or in our case, joints) in order to be able to move
around in the world. You place the joints inside the character’s mesh. The joints are linked to the mesh via a Weight
tag and Skin deformer so that each joint knows which part of the geometry to affect.
You can weight joints by selecting them and painting directly onto the mesh using the Weight tool. While the Weight
tool is active, the mesh is displayed black and the currently painted weighting is shown in white. The joint now knows
it should affect the white painted parts of the mesh only. In the active Weight tool mode, weighting is shown for the
selected joints. Each joint has its own weighting.
72Character Tools
The joints must be arranged into a hierarchy in the Object Manager in a similar structure to the bones in your own
body. In real life, when you move your upper arm, the lower arm and hand move with it because they are effectively
children of the upper arm.
Likewise, in Cinema4D’s Object Manager, the elbow and wrist joints must be children of the shoulder joint. If you
move the shoulder joint, the child joints will move with it together with the mesh weighted to the child joints — even
though the shoulder joint is weighted to the upper arm only.
As previously mentioned, each child joint has its own weighting and moves the parts of the mesh not weighted to
the shoulder joint.
Don’t worry if this seems complex. The following tutorials will explain all this in detail.
Character rigging for 3D animation is one of the most complex and dicult disciplines in the field of 3D graphics.
There is still no one-stop solution available but with Cinema4D R15, rigging and animating characters is no longer a
book with seven seals. Several new functions and tools have been added that make working with characters much
easier!
Preparation
Start Cinema4D and make sure you are using the Standard layout for the GUI. Open the scene, MaxonMan.c4d,
which contains the character mesh that we will rig in the course of this tutorial and animate using CMotion. To make
working with the character easier we should hide all other objects in the Project. To do so, hide the Environment
object in the Object Manager (click on the small circles next to the Environment object in the Object Manager until
they are red). Now only the character will be visible in the Project. It’s also a good idea to set your Viewports up so
you have a front, side and top view of your character in addition to the perspective view. The Viewports have already
been set up correctly for this tutorial so we can get started more quickly.
What we will do first is put the new character system in place. Select Character from the Character menu. A symbol
with the same name will appear in the Object Manager. The newly created object will appear as a gray arrow in the
Viewport.
74AutoRigger and CMotion
In the Attribute Manager you will see the Character object’s initial settings. Numerous parameters are available here.
When a Character object is created, its Object tab is active by default. This tab contains 4 menus: Build, Adjust,
Binding, Animate and represent the 4 steps required to complete an animatable character.
Directly below these tabs is the Template selection menu in which you can select the type of character rig you want.
You can select from Advanced Biped, Biped, Quadruped and many more. For this tutorial, select Biped. This will let
you create the rig for a humanoid biped. The rig that we will use in this tutorial is well-suited for controlling (animating) a human character. More detailed rigs that offer much more complex control systems can be created using the
Advanced Biped rig. The Quadruped option, for example, makes it possible to create a rig for four-legged creatures.
Selecting the Biped option hasn’t yet done much with regard to creating a rig. Directly below the Templates options
is the Components menu, which contains a Root button. Clicking on the Root button will generate a pelvis, which in
turn will be used as the starting point for the entire rig. Once the Root has been created, another button will appear
– the Spine (Fk) button. Clicking on this button will create a spine that is connected to the pelvis. Click on the arrow
at the right and 2 options will be made available: FK (forward kinematics) and IK (inverse kinematics). Select the IK
option. Additional options will be made available, which let you create a head, arms and legs.
75AutoRigger and CMotion
Before we continue, lets take a look at our model in the perspective view. The parts of the rig that we have created
are not scaled in line with the character model. They are far too small. This is not a problem at this stage because
the adjustment and re-positioning of the rig’s individual components will be done later, after all components have
been generated. In the next step we will generate the legs. If you Cmd/Ctrl + click on the button, two legs will be
generated.
Note that if buttons for further rig components are not displayed, check in the Object Manager to see which component is currently selected. If, for example, you want to generate legs, the spine must be selected. If the pelvis is selected, you will only be able to generate a spine. Alternatively you can SHIFT + click to remain in the previous hierarchy.
Once the legs have been generated we will continue with the arms. Here you can also select between forward and
inverse kinematics, plus an additional option, Limb. While the former two options generate arms with five fingers,
the latter creates limbs with only upper and lower arm elements. To these you can later add fingers, be it 2, 3, 4 or
five – or however many you want. For this tutorial we will only use upper and lower arm elements. Once you have
added the arms, click on the Head button to add the head. This completes our rig.
Adjusting the Rig to Match the Mesh
Let’s have a look at what we have done so far: We have created a rig that contains all components needed for our
character, only that the rig is too small. This is why we will now scale the rig to match our mesh. First, select the
Character object in the Object Manager and switch to the Adjust menu in the Attribute Manager. The rig’s appearance will change drastically in the Viewport: it will turn into a green, red and blue stick figure at whose joints are
circles of the same color.
76AutoRigger and CMotion
First we will position the rig relative to the mesh. Select the Root object in the Object Manager and use the Move
tool to move it upwards until is centered on the character’s pelvis. Don’t forget to check the position in the side
view to make sure the Root object is centered there as well. Use the Scale tool to enlarge the rig to match the mesh.
Don’t worry if individual components are too short or too long – we will fine-tune these as well. Once the rig roughly
matches the mesh we can begin with the fine-tuning, which will be done using the Move tool. Start with the legs by
clicking on the joint at the top end of the upper leg and repositioning it accordingly. Cinema4D automatically mirrors
this adjustment on the other leg. Make sure to also check your work in the side view.
A tip for positioning extremities: Arms, legs and fingers/toes (if present) are structured hierarchically. If, for
example, an upper leg is moved, the lower leg and foot will move accordingly. Therefore you should always make
sure to work from the inside out or downwards in the hierarchy.
If you should want to subsequently move one of the higher-level points (e.g., the thigh), the subordinate points (knee,
ankle, etc.) will automatically be moved with it. To prevent this from occurring, press the 7 key while moving the
thigh, which will let you move the parent object without affecting the subordinate objects.
Continue positioning the rig down to the feet and make sure the feet point slightly outward. This can be done more
easily from the top view.
We will now continue with the spine and the arms. The spine should not be placed towards the rear as in a real body
but rather near the center. Next, position the shoulders and arms accordingly.
Another tip: Joints such as knees and elbows deform the character significantly when animated. Therefore, you
must make sure that enough geometry is present at these locations in order to handle these deformations. On our
character you will see that the knee and elbow regions have three polygon rings. Place the rig’s corresponding joints
at the center of these rings so the bones will have an optimal influence on the mesh. Furthermore, you should make
sure that the knees and elbows have a very slight bend, as in reality. Polevectors are used for these joints internally,
which define the direction in which the joint will bend. By slightly bending the knees and elbows, the final rig will
be better adapted to the mesh.
77AutoRigger and CMotion
Position the wrist next to the cuinks. Six joints are located because this is where the fingers will be
generated later. To locate the right joint, right-click on the wrist and select the right joint from the list that appears
(…Hand_con+). Now we just have to adjust the fingers and the head and our rig will be ready to be bound to the
character’s mesh.
Binding the Rig to the Character’s Mesh
Before you start binding the rig to the mesh it would certainly be a good idea to save your Project. After doing so,
make sure that the Character object is selected in the Object Manager, i.e. that the rig is selected. In the Attribute
Manager, switch to the Binding tab.
This will again change the appearance of the rig in the Viewport. It will again be made up of joints and bones.
Double-check the position of the bones and joints before getting started. The Binding tab contains an inclusion field
(Object s). Simply drag the polygon objects body and eyes from the Object Manager into this field. If you need to
place multiple objects into this field you can do so by either dragging each object individually or by using the Object
field’s Start Pick Session function (click on the arrow in the white circle or right-click on Object field). Note: Do not
click and release. This will display the selected object‘s attributes and the Bind function‘s Object field will temporarily
be hidden. If this happens, select the character object anew.
Note: Do not place the Subdivision Surfaces object into the Object field.
This more-or-less completes the binding of the rig to the character’s mesh. However, before we move on to the
Animation menu where we will actually move our character, we still have to complete one more important step.
Don’t forget that the rig that we just bound to our character’s mesh is much more complex than it looks. Numerous
bones, Null objects and Controllers are needed in order to make the rig behave correctly when animated. These have
already been generated automatically by Cinema4D but are not visible. These components are actually irrelevant for
the person(s) creating the animation.
Important for the animators are the Controllers. These Controllers represent virtual strings of a marionette – which
our character de-facto is. Hence, we only need these Controllers to be visible. Too many elements in the Project would
clutter up the view and slow your workflow.
You can modify the visible state of the rig’s components in the Attribute Manager’s Display tab. Select the Character
object in the Object Manager and switch to the Attribute Manager’s Display tab. Here you will find several options for
displaying the rig’s components. The Viewport options affect the character’s rig in the Viewport and the Managers
options define how the character’s rig is displayed in the Object Manager. First, select Controllers from the Manager
menu’s Object Manager setting. Now only these Controllers will be visible in the Object Manager, i.e. the objects
that are used to control the character.
78AutoRigger and CMotion
Creating a Simple Walk Animation
We have now prepared our character so it can be animated. Select the Character object in the Object Manager and
switch to the Object tab’s Animate menu in the Attribute Manager. Click on the Add Walk button at the right. This
will assign a CMotion object to the Character object, which lets you generate cyclical animations or movements such
as a walk cycle. To do so, select the Character object’s CMotion object in the Object Manager and take a look at its
properties in the Attribute Manager’s Object tab.
79AutoRigger and CMotion
Set the Stride value to 60cm. Now turn your attention to the list of objects in the Objects menu below and select
one of the legs (L_Leg or R_Leg) in the list. Cinema4D will automatically assigne a Lift (P.Y) action to the legs in
accordance with the previously selected template. A set of parameters will be made available below. In this case you
will see the Lift function as a Child object of the L_Leg (or R_Leg). This is an Action that, as the name says, creates a
lifting motion so the corresponding foot rises during the walk motion. Try it out by clicking on the green Play button
(the green arrow just below the Viewport) and making your character walk in place and the feet will be lifted. If this
action would not have been added automatically, you would have had to fine-tune this manually. Select the L_Leg
object in the CMotion object‘s Attribute Manager and click on the Add button. Because the Lift function is defined
as a default function, we did not have to select it separately. Add the same action to the R_Leg object.
Stop the animation, if necessary, and jump back to frame 0. Select the Lift (P.Y) parameter; its settings will be displayed below. Increase the Lift value to 10 cm and don’t forget to do the same for the other leg.
Alternatively you can right-click on the already modified parameter in the Object list and select Copy. Then select
and right-click on the other leg and select Paste. As you can see, you have now copied the lift action from one leg
to the other. If you play the animation again you will see that the character lifts its legs much higher than before
when it walks.
You will find another Lift action in the Object list, which lies below the Root in the hierarchy. This controls the rising
and sinking motion of the pelvis during the walk cycle. You may have already noticed that this motion is very sedated
during the walk cycle. Set this parameter’s Lift (P.Y.) value to 3 cm and play the animation again. You should now
have a more realistic pelvic movement. So far so good. Now we will continue with the arms, which are still stretched
out to the sides and of course don’t represent the natural position of a person’s arms when walking. To reposition
the arms next to the torso, select an arm in the CMotion Attribute Manager. Again, several parameters will be made
available below, including Horiz. and Vert. These values affect the orientation of the selected arm or the Hand Goals
of the respective arm to which the arm is oriented.
Set the left arm’s Vert value to -45cm and its Horiz value to 45 cm; set the right arm’s Vert and Horiz values each to
-45 cm. Now both arms lie slightly bent alongside the torso. Next, we want to make the arms swing in tune with the
walk cycle. So far we have only worked with Actions that were already included in the list. Actions are an integral
part of CMotion. A character’s movements are defined by the use of Actions and the fine-tuning of their parameters.
Select an arm from the Attribute Manager’s CMotion list and assign a Push (P.Z.) parameter to it. To do so, select
the arm, then the parameter from the drop-down list and then click on the Add button next to the list. The Push
(P.Z.) parameter will now appear in the list below the arm to which it was assigned. Select the parameter and set its
Push (P.Z.) value to 30 cm. Right-click on the graph below and select Spline Presets/Sin from the context menu. This
replaces the straight line with a sinus curve.
80AutoRigger and CMotion
The Finishing Touches
Play the animation again and observe how the arms swing back and forth. We have created a simple walk cycle
animation, which of course can still be fine-tuned quite a bit. Copy and paste the Push (P.Z) action to the other arm.
To tone down the movement we have to modify one setting for the arms. Currently, each arm moves with the leg
on its own side, which is far from a natural walk behavior. To change this, select the L_Arm object in the CMotion
menu and set its Phase value to + 25 %. This will set this arm‘s phase to the exact opposite to that of the right arm.
Change the Phase value of the R_Arm object to -25 %, which will cause this arm also to have an opposing motion.
You can, for example, make the character actually walk past the camera instead of having it walk in place. To do so,
all you have to do is set the Walk parameter to Line or Path (which lets you move the character along a given Spline)
in the CMotion’s Attribute Manager’s Object menu.
You can also fine-tune the character’s gate, for example by modifying the Lift Action’s sinus curve. This curve defines
now far the feet rise and fall. Currently, the cur ve is smooth, which causes the feet to also rise and fall smoothly. If
you move the crest of the curve to the right near the end of the cur ve, the character will walk with a more stomping
motion.
You can also add Actions. You can, for example, assign Tilt and Rotate actions to the Root and set their respective
values to 4°. This will make the gate more natural. You can also begin modifying the character’s characteristics
much earlier by fine-tuning the character’s weighting during the binding process via the Weights Manager. You can
ensure a more accurate deformation of geometry at the joints by adding a Smoothing parameter, or you can add a
Muscle parameter to make muscles bulge. All of the available parameters and options can be used to fine-tune your
character’s motion and characteristics until you have an ultra-realistic animation.
81AutoRigger and CMotion
4. Quick Tutorial: Pose Morph
The Pose Morph tool is a powerful tool for mixing Joints, points, UVs, parameters, User Data and much more by
morphing between states (e.g. size, position, rotation) using sliders. Using Pose Morph is as easily as it is logical.
Open the file QS_Maxon_Head_start.c4d.
We will use Pose Morph to change the facial expression of our friend in the image above from friendly and unassuming to consternated and silly.
Right-click on the Head object and select the Pose Morph tag from the Character Tags menu. Select the tag in the
Object Manager and activate the Points option in the Attribute Manager. An initial Pose (Base Pose) will automatically
be created. The Base Pose (displayed in the Poses list) is the state in which the points are positioned at the moment
the Pose Morph tag was applied. This list element should not be modified because it represents the initial state for all
subsequent morphs - all morph poses will reference this initial state. Therefore, make sure this element is not selected
(active) when modifying the object.
To start modifying the object, select the element Pose.0. Normally you would have to switch to the Point tool but
we have already taken care of this step for you.
At the right of the Head object in the Object Manager are three tags, each with three orange dots. Double-click on
the tag farthest to the left.
82Pose Morph
The pre-defined points will automatically be selected and Cinema4D will automatically be switched to Point mode.
In our example, the points that affect the eyebrows will be selected. Move these points downward, slightly to the
rear and rotate them slightly (To drag the eyebrows farther down for a “mean” look, the points at the end of each
eyebrow must be deselected and each eyebrow rotated separately. For our tutorial, however, we can simply drag
all points downwards simultaneoulsy.). If the eyeglasses get in the way, simply turn off their display in the Object
Manager. When finished, your object should look like the one below:
Tip: The axis orients itself according to all selected points as a whole, which can lead to unwanted rotations. Hence, it
is sometimes easier to use the World axis when rotating selected points. To do so, select the desired function (Move,
Scale, Rotate) and set Axis to World in the Attribute Manager’s Modeling Axis tab.
With the Pose Morph tag selected, click on the Add Pose button in the Attribute Manager to define additional poses
for the mouth and tongue, for example (these points are also pre-defined in the Object Manager). Simply double-click
on the respective icon (with three orange dots).
Pose Morph
83
Once 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). The Pose Morph tag’s options will change automatically and you can define the strength
with which the poses will be mixed using the Strength value. All morph targets are animatable.
84Pose Morph
5. 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 Rotation and Hierarchy options. You can then rotate the Pose Target’s Joints without modifying the
Joints’ original position.
• The joints of the fingers of a hand only need a single Pose Morph tag with an enabled Hierarchy option. Simply
create a new Pose for each finger pose. This lets you keep the Object Manager more organized because all Poses
for a single hand will handled by a single Pose Morph tag.
• You can use the Driver tag to control Poses automatically. Assign the Driver tag to the Joint and link a Pose
directly to a specific rotational direction of the Joint. This can, for example, be used to simulate the flexing of
muscles when an arm is bent.
• If you want to use a specific Pose as an initial state you can right-click on the desired Pose and copy & paste it
accordingly.
• If you want to convert a Pose into a polygon object outside of the Pose Morph tag, right-click on each Pose and
select the To Mesh command.
• Make sure not to disable options previously enabled in the Pose Morph tag’s Basic tab (e.g. Points, Rotation,
etc.). This will delete all defined Pose Morph Targets. Enabling these options again will not restore these Targets.
• To avoid accidentally modifying the initial pose, right-click on the Pose, select the Lock command from the menu.
Alternatively you can click on the lock icon next to the element in the list.
• With the introduction of Cinema 4D R18, Sculpt layers can also be used to generate poses. For a facial animation,
for example, simply add a Sculpt layer for each PoseMorph you want to create and model the desired facial
expression on that layer. When finished, click on the Sculpt to PoseMorph command to generate the same
number of PoseMorph targets as there are layers.
Cinema4D contains a very powerful Cloth engine. You can use this tool to let a flag flap in the breeze or to give your
character a snappy T-shirt. This is exactly what we want to put on Claude.
What’s nice about the Cloth engine is that it’s not necessary to go through the trouble of modeling a T-shirt. All
you have to do is create the front and the back of the shirt. The integrated algorithms will make the garment fit
automatically.
Open the file QS_Cloth_ Start.c4d. This file already contains both T-shirt halves as a single object.
If you don’t like the shirt feel free to replace it with your own creation. As you can see it was created with ver y few
polygons. The simplest method of closing the edges of the T-shirt is to switch to the Use Polygon tool and select all
of the shirt’s polygons (Cmd/Ctrl + a in the Viewport). Then activate the Bridge tool and disable the Delete Original
Polygons option in the Attribute Manager. Now click on one of the rear polygons, whose edges will then be highlighted. Keep the mouse button pressed and drag the edges towards the front polygons, whose edges will then
also be highlights.
Once the mouse button is released, all the polygons necessary for connecting the halves will be created. Just make
sure that the corners are connected correctly. Otherwise the polygons will be connected incorrectly.
You can now delete the superfluous polygons (neck opening, sleeves, waist).
87Cloth
The 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 the front and back side of the shirt. Select Mesh/Commands/Subdivide from the main menu.
Make sure you don’t subdivide the polygons on the side (the ones created by the bridge tool). OK, it doesn’t really
look like a T-shirt yet, it looks more like a box with sleeves. But don’t worry, we’re going to change that right now.
The Cloth engine is very easy to use. Most functions are contained in one tag, the Cloth Tag. It will be assigned to
the object, which will then be turned to cloth!
Right-click on the shirt and select Simulation Tags/Cloth. The Cloth engine’s properties will appear in the Attribute
Manager.
If the cloth object is to collide with another object, as is the case with the T-shirt and the body, the other object must
be assigned a collision tag. Select the character’s body (polygon object Body) in the Object Manager with the right
mouse button. Select Simulation Tags/Cloth Collider.
Now the T-shirt knows that is should not pass through the character. It’s about time that we gave the shirt its proper
shape. Select the cloth tag and switch to the Dresser tab.
In the dresser tab you will find ever ything you need to make clothes fit. The other tabs deal with the cloth’s behavior.
Select Set next to Dress State. This is like a security measure. We can recall the shirt’s initial state in case we don’t
like the position of the shirt or if we want to add a breast pocket, for example. Switch to Use Polygon Tool mode and
select the polygons on the sides (the ones created by the bridge tool). Alternatively you can select Select/Invert in
the Selection in the Cinema4D main menu – since the front a back side of the shirt should still have been selected,
this can save you time.
88Cloth
These 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 to Set. The seam is still a little too wide. Click on Dress-O-Matic and look what happens
with the T-shirt.
The seam will be pulled together in accordance to the Width value. It doesn’t necessarily match the shape of the
character’s body, though. The Steps value determines how exact this fit will be. After setting the Init. State, click on
Relax.
Now other forces, such as gravity, will have an effect on the T-shirt which makes it sag on the character’s shoulders.
Place a Cloth Surface into the scene (Simulate/Cloth/Cloth Surface). Make the T-shirt a child of this object.
89Cloth
Cloth Surface acts similar to a Subdivision Surfaces object: it smooths the geometry which was subordinated to it
but with a slightly different algorithm which works better for cloth objects. Additionally, a thickness can be specified
for Cloth Surface fabric objects.
Set the Thickness to 1 or 2 in the Attribute Manager and the subdivision to 0. Create a Subdivision Surfaces object
and make the Cloth Surface object to a Child object of this Subdivision Surfaces object. Now the Cloth Surface object
will concentrate on the thickness of the cloth and the Subdivision Surfaces object will take care of the T-shirt’s edges.
The character should be clothed now. Of course there is still some fine-tuning necessary to make the T-shirt behave
properly in an animation. As you can see, though, the first steps weren’t that dicult.
Cinema 4D Studio features a hair rendering and simulation system that you can use to easily create hair, fur and
feathers. This tutorial will show you how.
1. Introduction
HAIR is a powerful tool for creating various types of hair and fur. Even feathers, animated grass, and much more can
be created using HAIR.
Although achieving your first results in HAIR is relatively easy, HAIR is an immensely diverse and comprehensive tool
that will satisfy any beautician.
HAIR can be accessed from the Simulate menu at the top of your standard interface.
92HAIR
HAIR’s only limitation is your fantasy, whether it’s creating fur for a rodent, feathers for a rued chicken, the perfect
English lawn or the newest hairstyles. And, HAIR is fast – what else have you come to expect from Cinema4D? HAIR
renders immense amounts of hair with unmatched speed. The variations that HAIR offers are so great that any hairstyle can be created, from smooth and straight to curly or just about anything you can imagine.
93HAIR
2. General Information / Interface
HAIR works with so-called guides that serve as placeholders for the rendered hair.
The number of guides displayed in the editor view is far less than the actual number of hairs that will be rendered.
The number of guides displayed can also be increased. The missing hairs are interpolated between the guides when
rendered. Naturally, you will require some standard grooming tools to bring your hair into shape. Among the tools
HAIR offers are Brush, Comb, Scissors and more.
HAIR’s own IK makes sure hair moves realistically. Even some of the Cinema4D particle modifiers, e.g. wind, can be
combined with HAIR and the HAIR dynamics ensure hair behaves naturally. And if you want to transplant hair, that’s
no problem, either. HAIR lets you easily transplant hair roots.
94HAIR
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