13. Mar. 2008

Cinema 4d. Vray : realisé pour la société 3Dweave.

03. Oct. 2007

Cinema 4d. vray

31. Jui. 2007

Cinema 4d

10. Jui. 2007

Cinema4d. Mudbox

11. Juin. 2007

Cinema 4d. Mudbox

31. Mai. 2007

Cinema 4d .v10

11. Nov. 2007

Cinema 4D v10.

Here an effort to give a little tutorial on Cinema 4D.
The version I’m working with is Maxon Cinema 4D Version 9.
At the end of this tutorial I will offer you the c4d files for free as well as some renders in different resolutions.

The Start
I always start of with a floor. It keeps your feet to the ground.

Then I created a simple cube.
Objects > primitive > cube
And divided it. To do that, first you have to make it editable:
Functions > Make Editable (or press c)
Then: Functions > subdivide (subdivision = 3)

Then probably the most important part will take place. The actual shaping of the monster. With the use of the polygon tool, you can easily move parts of the surface to your desired position. You can also tweak the scale of those parts.
For now 4 legs and some spikes will do.

We need a camera in good position. During the modelling I usually keep changing perspective. Just to see what it looks like. It really comes in handy to have that camera in a nice position. Now you dont have to change your current view with every render you make.

To make the shape of the animal more organic, you insert HyperNurbs:
Objects > NURBS > HyperNURBS
I leave every setting on default. These hyperNURBS smooth out every sharp corner and takes away the sharp edges.

But now, it really is a bit too smooth. When it starts to look like Jell-O, you know there’s work to do.
For that, I used Weight HyperNURBS. What it does is undo the hyperNURBS smoothing on specific parts.
Just select a part of the surface again, and in Structure > Weight HyperNURBS you’ll find what you need.
I used it to have the four legs stand on the ground again. Make them wider towards the ground.

Because the monster is still quite abstract, I added two weapons. They’re actually camera’s! But when you loose the textures, modify them a bit and use them in a totally different context, they become weapons!
Or they stay camera’s. Fair enough. We need surveillance monsters as well.

With all the modelling done, it’s time to add lighting and textures. First some lights. For me that’s when 3d starts to become more real.
Two spotlights. Rounded spotlights with soft shadows.

And another rounded spotlight from the back, with visible light. That makes the outlines of the monster stand out a bit.

Now we add some texture. I wanted this monster to be a plastic metallic black. Nice and shiny.
So strange enough, here I used white as color.
Reflection of 80%.
Specular of metal (width 23, height 100, falloff 33)
And displacement.
For the displacement I used a predefined texturemap. Inside the Material Editor, inside the Displacement tab:
Texture > Surfaces > Brick
And I blurred them out a bit.
The specular is used for the highlights.
A good explanation of some of the miracles one can achieve with displament mapping, check here:
http://www.creativemac.com/2004/02_feb/tutorials/koc4ddisplace0402244.htm
For this monster I used it to roughen up the shape of the monster. Make it a bit less modelled. More random.

The floor I wanted to be dirty and wet. So I added a dirt texture and some reflection.
I used bump for this material to make sure it’s not as flat as a mirror.

To make the scene a bit less clinical, a little bit of fog seemed appropriate.
Real fog or clouds are hard to make so I faked them, using two plane objects.
Objects > Primitive > Planes
To the planes I added transparancy. With a black and white .jpeg of real clouds. The black parts become transparent, the white stay opaque.
Now the planes still receive shadows. That’s not good. So, we add a tag to the planes:
Right click on object > Cinema 4D Tags > Compositing. Then unselect Receive Shadows and Cast Shadows.

We’re getting somewhere. Because of the displacement the camera’s are changed beyond recognition. For the camera’s a make a duplicate of the material used for the monster and simply uncheck the displacement checkbox.

The texture on the floor shows repetition and is still shiny as a mirror.

The backlight could use a bit more brightness.

Finally in Photoshop, I added some more smoke and a city background.

Let me know what you think!

Download wallpapers: 640×480, 800×600, 1024×768, 1152×864, 1280×960, 1600×1200

http://www.adobe.com/devnet/aftereffects/articles/3d_integration_pt1.html

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New video tutorials and new inspirations have been uploaded tot he site, check them out!!!

Tutorials Inspirations

.
Hi Folks. 3 Renders, no light

Name: Tara Finglas.

Nationality: Irish.

Country of Assignment: Malawi.

Area of work: Communication for Development (C4D) UNICEF.

Where in the world have you travelled?

England, Ireland, Northern Ireland, Scotland, Wales, France, Spain, Luxemburg, Belgium, Germany, Italy, Slovenia, Romania, Belarus, Serbia, Czech Republic, Greece, Corfu, Cyprus, Turkey, United States, Canada, South Africa, Madagascar, Namibia, Malawi, Kenya, Zambia, Egypt, Morocco and Cape Verde.

Where did you grow up?

Ireland.

What did you study in university?

BSc Communications: Journalism, M Phil International Peace Studies, Diploma Digital Marketing and Advertising with Public Relations and E Commerce.

What are the best and worst jobs you have had?

The worst job I have ever had was as a Sales Administrator with Eircom. My job was to process applications for telephone lines and broadband. The work was very boring.

The best job I have had was working with Irish Aid in the Volunteering Unit. I learnt a lot about working with NGOs and working within a government department. My favourite part of the job was giving people advice on where to volunteer and how to use their skills to make a difference. I like to help people and if possible point people in the right direction.

Why did you apply for the UNV programme?

I spent last year working in the Volunteering Unit of Irish Aid. I was working in an environment that actively promoted volunteerism and showcased the people who gave what ever time they had to spare for a cause. My background is media focused but I made the decision two years ago to follow my passion into the world of development and volunteerism. I wanted to use my skills for a good cause, to make a difference in people’s lives who are affected by poverty and bad circumstance.

I thought that the UNV programme would be the best fit for me because it would allow me to work in the area of communications in an overseas development setting. I don’t believe that I have all of the answers; I would like to share other people’s stories with people around the world and to advocate for people without a voice.

Describe a day in your life as a UNV.

I wake up at 6am, slowly get out of bed and head to the shower. I dress and make breakfast and turn on CNN to catch up on today’s news roundup. I finish my breakfast and get my work files together and throw my lunch in my bag. At 7.10am the UNICEF staff run arrives at my house to bring me to work. In the car I chat with the national staff, and find out what is going on for them work wise and in their lives.

At 7.30am I arrive at my office, I immediately check my email. An hour later a car comes and takes me and my colleagues to head office for our monthly staff meeting. The OVC Unit gives a presentation on Early Child Development community based centres. UNICEF needs to create awareness about this issue but at the same time cannot create a high demand as the services are not in place to cater for more children. The meeting continues with an update on events and notable visits in the next month; the National Committee from the UK and Canada will visit some of the UNICEF projects.

When I arrive back at my office, I call the Ministry of Information and Civic Education to re-confirm our meeting this afternoon. The meeting is re-confirmed and I re-read the presentations I drafted last week print them out and get all of the materials ready for the meeting. Lunch time comes and goes; I eat my sandwich at my desk and check the Irish news back home. Wow election fever has gripped the country for the local and EU parliamentary elections, sadly I can’t vote as I am not in the country. My first time ever.

At 2pm the ministry representatives arrive and we discuss the presentations and logistics for the next working session of the Network of District Communicators on Cholera and Influenza A H1N1 (Swine Flu). This is an important four day event to update journalists and representatives from the ministry on the latest situation, the communications strategy and how to report on the illnesses without causing undue panic.

I make changes to documents and start printing and collating all of the materials for the participant’s packs for the working session. Two boxes later I am done. I wait at my desk for the UNICEF car to come to bring me home. It has been a long day.

At home, I start dinner and chat to my house mate as we watch MasterChief. I eat dinner and we settle in to watch our favourite television programme Greys Anatomy.

What is the best part of your UNV assignment?

The best part of being a UNV Volunteer is getting to experience a new and different culture totally different from Ireland. I am getting to use the skills and techniques that I learnt in university. I am also learning a lot about nutrition and maternal health issues, and my perspective is widening to include a different way of thinking, giving my time and energy to my colleagues and to local Malawians to create behaviour change.

What is the least favourite part of your UNV assignment?

It does get frustrating from time to time. It is easy for me to suggest different ways of changing and improving things here in Malawi but seriously how can I think no one else has ever thought about these things before. The problems and issues in Malawi are systematic and are based at the infrastructure level; a lot of other factors need to be realized before anything on a large scheme will be achieved. However, every bit helps in the long run.

Has your UNV assignment reached/not reached your expectations?

Yes, despite frustrations at the start of my assignment, I am enjoying my work in Communication for Development (C4D) Unit.

Would you recommend the UNV programme to other people and why?

Yes, I strongly believe in volunteerism as a way for people to ‘give something back.’ I think everyone can make a difference in some sort of way, however, small. I think for people who would like work in overseas development, the UNV programme is a fantastic opportunity to use your skills, learn new techniques and get to see some results before your time is over. I believe in the principles of the UN but I think with all of the doom and gloom on the news; the positive things that people are doing are sometimes overlooked. Working within the monster of bureaucracy of the UN can be frustrating but I believe that change can be best made from within.

This is a short test of the bikergirl from a while back.

Was flicking through my holiday snaps again tonight and noticed something I hadn’t when I took this photo. Hmm.

Made in Cinema 4D with some post work in Photoshop. Just a spur of the moment thing with my still-yet-to-be-completed Viper model. I don’t think the lighting’s quite right, though I did use a bit of artistic license here and there to make it look snazzier.

What is The Bullet?
This training product is designed to show you how to create large-scale visual effects in an organized and powerful workflow. Starting with the raw footage, we will build all of the necessary elements to complete this amazing visual effects shot of Sam Loya firing a gun in slow motion.

What else will I learn?
The concepts and techniques will translate to unlimited visual effects possibilities and a powerful compositing pipeline for creative visual effects.

Do I need 3D software experience?
3D experience is not required; neither is an expensive 3D program for that matter. This DVD let’s You choose your tools such as: Cinema 4D, 3Ds Max, or the powerful free program called Blender. The Blender portion of the DVD explains the program and everything you need to know to get started. The 3D camera movement is created in the tutorials so we do not need to use match moving software with live-action footage.
__________________________________________________________________

What can I expect to learn?

After Effects:
• Creating elements from scratch
• Working between AE and 3D, integrating camera data

• Multi-Pass exporting and compositing

• Advanced color correction techniques

• File management and workflow tips such as pre-comp proxies
• Displacement effects and other creative uses for common plug-ins

3D Software:
• Model a realistic bullet and shell casing
• Texturing and lighting with reflections
• Animation with Null objects and groups
• How to render multiple elements for compositing

Rp 20.000 /DVD

?????????? ????? ?? MOCCA ?????? ??? CINEMA4D
Together with the French character animation specialists at WiPix, more than five hours of high-quality instruction on rigging and animating a character was created.
Eleven chapters of in-depth instruction ranging from creating the first joints to IK setup and weighting are included. This is all crowned by the creation of a complete walk cycle – an essential skill for all burgeoning character animation professionals working with CINEMA 4D’s MOCCA to create high-end animations.
These tutorials are available in the languages English and French.

Rp 20.000 /DVD

Abordez enfin sereinement la conception 3D gr�ce � cette formation qui vous fera d�couvrir les facettes principales de Maxon Cinema 4D. St�phane Anquetil (laur�at Imagina 2008) vous enseigne comment tirer le meilleur parti de cette application r�put�e pour sa facilit� d�apprentissage et d�utilisation. Apr�s avoir d�couvert l�interface intuitive de l�application, le formateur construira avec vous plusieurs sc�nes compl�tes � l�aide de primitives, en vous d�taillant les diff�rentes m�thodes de mod�lisation avant de conclure sur des principes d�animations.
Sommaire de la formation � Maxon Cinema 4D 10.5 – Notions Fondamentales :

NOTIONS INTRODUCTIVES
Prise en main
D�couverte de l�interface
Premiers volumes
La navigation
Pr�f�rences de l�interface
Personnalisation
Aide et ressources

LE BONHOMME DE NEIGE : de l’usage �l�mentaire des primitives et des textures
Mod�lisation de base
Placement des premiers �l�ments
Primitives et biseaux
Duplication et sym�trie d�objet
Textures : couleur et r�flexion
�clairage trois points
Am�liorations du rendu
Lumi�res et ombres
Positionnement et r�glage du ciel
Cr�ation de la neige
Canal de texture
Hi�rarchies d�objets et groupes
Les d�formateurs
Environnement
Gestion de la ligne d�horizon
S�lection de polygone, texture projet�e sur une s�lection
Initiation � l�Hyper NURBS
Mod�lisation par point : un sapin
Shader et d�grad�
Rendu d�image fixe (enregistrement)
Animation
Cr�ation de l��metteur
D�viation,gravit� et turbulence
Animer de la neige
Rendu d�animation

RENDU DE TYPE PACKAGING
Projections de textures
Pr�paration de la texture
Habillage de l�environnement
Les types de projection
UVW
Interactions avec Photoshop
Environnement comparatif
D�tourer des objets
D�tourage par couche
Effet de lensflare

SALLE DE BAIN EN RADIOSIT�
6 techniques de mod�lisation en application
Explications autour de l�extrusion NURBS
Extrusion du miroir
Extrusion contr�l�e de la tablette
Outil atomium
Mod�lisation du porte-savon gr�ce � l�atomium
Mod�lisation du savon en hyper NURBS
L�outil r�volution NURBS
Mod�lisation du gobelet
Fusion du gobelet mod�lis�
Tube de dentifrice gr�ce � l�outil peau NURBS
Positionnement du dentifrice dans la sc�ne
Cr�ation de l�environnement
Cr�ation de la pi�ce
Positionnement de la pi�ce
NURBS B�zier
�cr�tage de la cam�ra
Textures et lumi�res
Texture : r�flexion et displacement
Anisotropie
La transparence : la tablette en verre et le gobelet plastique
Shader
spline autour d�un texte et d�une texture
Rendu de la sc�ne
Illumination globale
Ajustements de rendu

PRINCIPES D�ANIMATION
Initiation � l�animation
Animation simple et hi�rarchique
Transition de texture anim�e sur un logo
Astuce finale
Mot de conclusion

Rp 30.000 / 2dvd

Mod�lisez et animez vos personnages avec Cinema 4d ! Gaetan Langlois vous donne toutes les cl�s n�cessaires pour r�ussir pas � pas la mod�lisation en HyperNurbs et l�animation d�un personnage � travers un projet complet, du plan de r�f�rence � l�int�gration du personnage dans son environnement. En seconde partie, Gr�gory Kerriou d�taillera par des exemples pratiques comment g�rer les textures et les �clairages. Les formateurs traiteront enfin des nouveaut�s de la version 11 de Cinema 4D.

Sommaire de la formation � Cinema 4D – Mod�lisation, Animation et Eclairage:

L’animation de personnage
Introduction par Gaetan Langlois

Etape 1 : Mod�lisation du personnage
La mise en place des “blueprints” (plan de r�f�rence)
L’orientation des plans de r�f�rence
Le positionnement du cube primitif
Mod�lisation du ventre
Mod�lisation des bras
Mod�lisation des mains
Mod�lisation des jambes
Mod�lisation du pied
Mod�lisation de la t�te
Ajouts des orbites
Ajouts des paupi�res
Mod�lisation de la bouche
Les accessoires de la t�te

Etape 2 : d�pliage UV et texturage avec Bodypaint 3D
D�finition des lignes de coupes du maillage pour le d�pliage
Cr�ation du mat�riau et d�pliage de la g�om�trie
R�alisation de la texture, peinture directe sur l’objet 3D ou sur l’image de texture
Finalisation de la texture

Etape 3: Bonage du personnage, cr�ation du squelette.
La mise en place de la palette mocca
La mise en place de la colonne vert�brale
La mise en place du bras gauche
La mise en place des os de la jambe gauche
Le renommage des articulations
Les bones de la m�choire

Etape 4: Rigging, mise en place du syst�me de contr�le du squelette
Le contr�le de la colonne vert�brale ( CI Spline)
L’organisation des hi�rarchies
Le contr�le de la jambe gauche et du pied
Le contr�le du bras gauche
La sym�trie de la jambe gauche
La sym�trie du bras gauche
Les contr�les sp�cifiques pour la t�te
Le contr�le de la rotation des mains
Le contr�le du pliage de l’index gauche
Le contr�le du pliage de l’oriculaire gauche
Le contr�le du pliage du pouce gauche
Les recalages des axes des doigts de la main droite
Le contr�le du pliage de l’index droit
Le contr�le du pliage du pouce et de l’auriculaire droit

Etape 5: Skinning, lier le squelette � la g�om�trie du personnage
Lier le squelette � la g�om�trie
Ajuster les zones d’influences (influences des os sur les points de la peau du personnage)
L’ajustement zones influences m�choire
L’ajustement zones influences globales

Etape 6: g�rer le regard et les expressions
Connecter des accessoires sur la t�te
Morphing de la paupi�re gauche
Morphing de la paupi�re droite
Morphing de la bouche
Cibler le regard et textures des yeux

Etape 7: Hair, ajouter une touffe de cheveux dynamiques sur le crane du personnage
Ajout de cheveux Hair
Texture cheveux et dynamique

Etape 8: animer votre personnage
Pose de r�f�rence pour la marche
Pose de r�f�rence : fin
Correction de l’interpolation des pieds
L’ajustement des pieds pour le 1er pas
L’ajustement des pieds pour le 2e pas
L’ajustement des bras et du bassin
L’animation du visage et des doigts

Etape 9: introduction � l’outil Clothilde
La simulation dynamique de tissus

Etape 10: cr�ation d’un environnement
Le sol gazon et fond blanc
Les �clairages
Le param�trage du rendu et conclusion

L’�clairage et le rendu avec Cinema4D

Effets de texture
Le lingot d’or : r�glages des canaux d’une texture dans Cinema 4D
La bulle de savon (partie 01) : r�glage de l’effet de texture distorsion
La bulle de savon (partie 02) : r�glage de l’effet de texture
Simuler de la pluie : cr�ation de particules et animation de texture
R�glages de l’effet de textures : occlusion ambiante

Effets de mouvement
L’h�lice d’avion (partie 01) : animation et param�trage de l’objet h�lice
L’h�lice d’avion (partie 02) : r�glage de l’effet de postproduction “flou directionnel vectoriel”
Une balle anim�e : animation et flou directionnel d’objet

Effets de lumi�re
Mod�liser vos gemmes : caustique et cr�ation de primitive �clairage
La boule � facettes : cr�ation des lumi�res et param�trage de l’effet de caustique
Eclairage dynamique d’un texte : cr�ation d’une lumi�re de vis�e et param�trage d’une lumi�re avec volum�trie invers�e
La tasse � caf� (partie 01) : cr�ation des textures de la tasse, du caf� et de la cuill�re
La tasse � caf� (partie 02) : int�gration d’un environnement HDRI dans la sc�ne
Cr�er la mer et son environnement (partie 01) : cr�ation et texturing des objets
Cr�er la mer et son environnement (partie 02) : r�glage de l’effet de postproduction

Les nouveaut�s de la version 11

Pr�sentation de Cinema4D11
Tour d�horizon de nouvelles fonctionnalit�s

Exercices sur le nouveau mode d�illumination globale
Radiosit� int�rieure �
Radiosit� ext�rieure

Rp 30.000/ (2dvd)

llustrator Oliver Wünsch explains during this 180-minute workshop, how he uses Cinema 4D Release 9, ZBrush 2 Motion builder 6

Cinema 4D R9 + ZBrush 2 + Motionbuilder 6

llustrator Oliver Wünsch explains during this 180-minute workshop, how he uses Cinema 4D Release 9, ZBrush 2

and Motionbuilder 6 in a character animation project. The combined strength of these 3 highend tools allows for a

new level of realism and expression in 3D animation.
The power of Zbrush 2 for unique surfaces detailing, Cinema 4D in it’s newest Release-9, with new n-gon tools and

overall production strength plus Motionbuilder 6 for realtime animation, allows a sophisticated pipeline that empowers

the artist to achieve a completly new level of creativity

Rp 20.000/DVD

La Scala Theatre

Cinema 4D R10 models
Polygonal

3D format:
C4D,3ds,obj,dxf
Buy on:
The 3D studio. com ; turbosquid.com