That's going to keep the length of the cylinder. The shortcut is command E. Let me just go and click on this, which will bring up the preferences menu here, and in order to reset the preferences, you come right to the bottom of this panel on There's a button here that says Open Preferences folder. And if I hold on all 10 click again, they'll both turn red an old click one last time. You have the basic controls, like the name which I can change your so fucking and double click on the name here. So it's a trade off. So if I go press N b If you remember this shortcut, this will show you the shading together with the lines. In this case, if you look at the coordinates, I can see a great up next to read his P X and another one next to it s P Y on them, P said. And if I zoom in here so you can see what's happening again, I need to not push this back in by half the thickness off the back. While I'm doing this, I'm looking at top view. So this fear gets deformed as well. So we have some sort of a light direction coming in from the left hand side, but we don't have any shadows on the floor yet, so let's go to the General tab and I'm gonna go to the shuttle field and then change it from none to shadow maps soft and let me know show you the difference between shadow mass Soft on the area shadows If I render this with shadow maps soft, you sometimes get these weird art effects on the front side off the object name is women here to show you what I'm talking about. So it's getting smaller or larger, so actually settings to zero on. Maybe, let's say 54 2 with on Maybe, let's say, 10 for the height. So if I know, go and delete the star and they show you a few other explains that we can use. You're not necessarily going to see those trees when you render. So if I go to the coordinates goto why? I'm going to go and ungroomed these objects for someone ago, right? It should update now here, but it's going to take slightly longer to process. I know that gets created in the central the world again. If I look at this supply from the top view, it looks perfectly flat. So I'm gonna go and make these even smaller like that. You can set the frame rate off the project settings to be 30 but the frame rate of the render settings to be 25 that's going to give you some unwanted results. So I'm gonna keep from X why and said at the same time. So if I go back and try this again, some of them are still going crazy. So if I select this light, put this inside this studio spotlight, and then if I go to coordinates, so if I go and right click on the Y position and also the heading. Lifted up. If the floor is not rough, however, if I go and change the material off the floor to make it a little more rough. So I create a copy off that. As soon as you create the spotlight, you see, it will appear like this. As you see, it's a green object is a generator. On down at the bottom. So if I now rendered this, I know you're a light that's more of a greenish yellowish color. So what's happening now is that sphere is being cloned on top of the text plane. Let's see about that size on. And I would like this one to move from the starting point all the way up to here. You see, as the particles fall down and they get closer to the sweetened object, they'll start floating back up again because the wind is pushing them in the opposite direction off the gravity. This is already looking smooth, but if I go to the right inside and there's a subdivision surface that's been applied to this paint, if I go and turn its on, look how much more smoothness this adds to the paint. Hopefully the pins. So that will give us the handles again. So if I increased its strength, you see all of that will get bent. Put the inside inside of that extrude, and then I'll put extrude inside the cloner. And I'm going back to the cloner a simple, plain effect, er so I'll select it angle to Margraff effect er plane. You see you're making the red box bigger or smaller, and if the red boxes small like that, so it's set to 0%. And what happens here Is that the collision the former is telling the plane to be affected or deformed by the shape, size and the position off this fear. Open that up so I can see the pedals and all here on this is the one I'm going to need to animate, so it's the pedals pitch on again. Hello, I'm Ozgur. I cannot get my selection tool again, making sure that only select visible elements is turned on. Actually, it's creating these different sample points. I like an eel exports exact frame where my players that next up, I'm gonna go to the save many here and then on the right inside, it will show me that irregular image will be saved. If you are a graphic designer, looking to add that extra dimension to your work, or perhaps a 2D motion designer looking to take your animation skills to the next level, then this course is for you. So I have another copy off that. No, I mean seclusion. You then right click and then you come up here. Then I'll rewind again. These are a nice highlights you had because you made the object have Philip caps. So I'm gonna go to Texture and I'll come down towards the surface is And from here are pick would. So it looks just this big. Only the ones that are fully inside this rectangle will be selected. When you open it you can see that there's nothing on the inside. So let me zoom in here and I'm gonna apply the table material to the table and then the coffee cup material to the coffee cup on also all apply to its course through as well. So I'm gonna go into, like, something quite thick, like Ariel Black on where to press hate. You can't bend it. There's another option called Variation. So let me set is to, let's say, 10 copies in total, so I have 11 objects together with the original one on. If you think about the material off a shiny car, this is quite similar to it. I’m Lionel VICIDOMINI, a Maxon Certified Instructor, Maxon Master Trainer and Motion Designer based in Paris, France.. Matchmoving is the entry door to the world of special effects (VFX), where you can integrate 3D objects into your live action shot.. Exactly like I did for the bottom and I have the expand option here. Actually reset them all at the same time. You will also learn the basics of normalization and auto-normalization in Cinema 4D. So the objects are still being deformed. And I'm gonna check this from the front of you to make sure that the ball doesn't go through the floor right now it does. And then I'm gonna go and create a spotlight again. The last ones here. It's more office coercion stretch. And if it's yellow, this means that the value has been updated. So it's like this and the shift. So I'm gonna go and open this note up, and I'll make this visible interview ports on the MSM art a little bit. Lights - Shadow Quality: in this scene, I have a three point light set up. I'm gonna go to my volume builder, change this fear from the union mode to the subtract mold. Then the moment is actually going to start moving these objects up like that. They're not inside like this, but under like this. So if I go to the wind object then we had the wind speed. Videos will be talking about them as well, but at this point, I just want to point out where they are. Parametric Objects - Solar System: by using knows you can create something quite similar to the solar systems set up. I can also change the growth options here. So I'm outside the creation mode now so I can press hates now to see the entire model. That's for to start, and there's one at the back as well. And if I separate that away from the why, you see, there's a hole there. Cinema 40 is to use this option called Sub polygon Displacement. The lower the sample distance, the dancer, the resolution of the light will be, so the better the results will be. Be command be You can simply increase the contrast here. It's not going to be as transparent as it was before, so it's still transparent but not as transparent. Now when I zoom in and then render From here, you may notice some strange looking artifacts like this, so it doesn't look perfect not to fix this. We just clicked and let go. So if I go and credit, explain here on it's going to change the text from text toe Digital Me again. Now this is looking really random now, so it's just more cubes knife. So what do I want the pitch to be at this stage? So if I click no more here, shift and click on that. And then my spotlight is facing exactly the same direction as the studio spotlight model. And from here I can go to projects and there's select my previous scene unknown This scene , if I select my lights on before I do anything, they just do a quick render so we can see what's happening. So if I go click here and if I don pressed the to get my extra tool again and if I don't go click and drag towards rights, I can then get my rotate tool by pressing are and I can rotate. And I'll duplicate this a couple of times. Go here. I'm gonna give us an initial kick in the set direction because that's where this blue arrow is pointing. So you see the cameras there on. And then if I play this back, it's going to make it look as if they're coming out of that box like that on. It will just be black. So this is a much more streamlined version off the minute timeline, and it makes life much easier when it comes to lining key frames up or precisely timing them on the timeline I now know that this needs to go down half the thickness off the seat, which is gonna be five. No global elimination, no ambient occlusion. The way the late works is that it takes a splint that you create, and then it spins that splint along the Y axis. And in fact, I'm gonna dock this on the interface that say appear so they're here when we need to use them. So let me open up the country material on. Still, let me now go to the volume builder and actually turn off the volume measure so I can show you what's happening with these pixel like objects. Now let's say you know, want to twist this ornament a little bit on Lee around the center point where this fear is . Take your design skills to the next level, into the 3rd Dimension with this Cinema 4D Course. So in the car example, it first had the material off the metal. So I'm gonna set the radius to, Let's say, 10 on Guy can add this small spheres inside the emitter. So now we want the pedals to complete a one full rotation by the time they go from frame 10 to frame 90. In the perspective, you because if I'm growing a spine from the perspective, you displaying will be drawn based on my current perspective, which might actually be wrong. So if I not press A to redraw this and if you want to extend the reach off this visible light, that's done by clicking on this button here and then extend this old way towards here. Let's see what this looks like. About This Class. His Bible shape is the curve level. You can see these are the key frames. I'll also make this light visible. So let me go to the front for you first. So the trick there is to leave the accuracy set to 50% and then tweak these two numbers to be the same and move them up gradually until you're happy with the result. Shape on that depends on the strength as well as the height off the plane effect is position parameter. Now, if you want this to look random, there's a shader called noise. So how do you see the key frames for the bike or the wheel or the petals at the same time? Like so. So it goes down on may be this one goes up. And as I move this around, you may see that the other letters are getting funny as well. I just go and move out on May be Go here are more disliked to decide. Push this over that state about there. Let's see if we can create a simple table and some chairs to do that, I'm going to start by creating a cube. That's a blue arrow. So if I goto why and let's say I set this to minus 1000 I decrease it because I wanted to go down. This is very similar to using the levels adjustment in for a shop and then dragging the middle slider in the levels adjustment towards left or towards right. We'll start the training with the foundations of Cinema 4D so I'm going to assume that you're a complete beginner. I should see position and the rotation as well as the light because we've animated the intensity of the light if you remember, and I also see the pedals on the back wheel on the front wheel. So this is changing the heading off the object right now again as I rotate this. Then I get this weird glitch. I can then take this circle and place this under my inside so that now gets subtracted from this rectangle plus circle as well. So therefore it wont be able to fall all the way down, have a look. Now the intensity of this light Let's go and call this light backlight. If I place this inside that Marie on, then you can see all the edges off This fear are now turned into cylinders and all the points are turned into spheres, and I can actually change the appearance of this again. Right now, we can still see through the object. Now, although you can change all of them here, it's usually easier to double click on the material, which will open up. And if I render this you mom, make that light much wider and the visible light starts from here and extends old way out Mark, if I press A to redraw this scene, you may have noticed that the light doesn't interact with the actual object, then just go to a side view like this. So if I just change the angle of this, it gets twisted like this I can then bend this twisted Cuba four go and increase the strength of the bend. Again, if you used those applications. And then all I had to do is to zero out all these coordinates. I've taught and worked with some of the biggest names in the industry such as SKY, BBC, Sony Pictures, ITV, Google, Microsoft, to name a few. So that's a middle click again. And that's why the shape is looking much smoother. This still looks to me a little too thick. I'm gonna go the drag one last time. What's happening is that the array objects creates this imaginary disc or the circle, and the radius of that circle is set to 2 50 on those copies are placed on that circle. And I'll said there, Zet scale to zero. Let me first switch back to Illustrator Andan Illustrator. And then it's gonna create a much better and more interesting looking object like this. So if I make the emitter in rigid body, what's gonna happen, though, is it's going to treat the emitter as a rigid body, not the spheres inside, but the emitter itself. If I pose this, I go to the emitter inside the emitter, I can change X and the Y sizes so I can make this, Let's say, 1000 index. If I damn well forward, find the point of contact, which is here. Here, let me first changed my view so I can see the lines that make this shape. I'm gonna set, then scale to be one as well, and I'll play it from the beginning. However, if you want to change the appearance off the object and you want to have the full control over the appearance, you would be better off creating a material and applying that material to the object, which is something we will talk about later on. Now there will be times when changing the parameters will just not be enough in order to create the model that you're after. Go to the key lights and I'll go to its coordinates and I'll go to It's heading now is our increased this? Sit in that now So I can school, press and delete this all that select my bike and I'll go to coordinates instead of 200. Before you do your final export to change these values, I can either just go and typing. If this happens when you drag, that's the highlights. This means now that the platonic tells us the distance from not the center of the world, but the center off its parent. Cinema 4D Masterclass-The Ultimate Guide to Cinema 4D details can be found below by pressing Buy Here or View Demo Button. So I'm gonna press command said, and I'll tell it to turn off the rotation and then this scale and then this p here stands for parameter things like the parameters off the objects. Usually the first light, the main light that you create is called the key light. This website uses cookies to ensure you get the best experience on our website. Whatever's underneath my cursor is I drag will be selected. Yet My move. So if I'm not going to add more segments to the X, let's just go increase this. I think that's looking not too bad, actually. Parametric Objects - Grouping Objects: In the previous exercise, you looked at how to create a table and your placed old objects that made the table inside enough by pressing Olt and G on the keyboard. And I wouldn't change a pitcher's well to 90. You see, the top part of the cube starts bending. I want to bend to be exactly 90 degrees, so I'm gonna select it and then come down to strength on set this 1 to 90 so that from the top view, I can align the bowl as well. So let's say I want this to be exactly 20 units so I can highlight that and type in 20 centimeters on the radius off that curve is going to be exactly 20 and I can do the same. These yellow areas basically highlight new futures in this current version, for example, they've updated this camera. Now I can select both of these and I press old G on. So if I move my cursor here to the Red Arrow X arrow and if I hold on a shift before I click, you see the X arrow will be disabled. No, I'm not gonna create a spy rap. So if I now lowered us down to, let's say to, I know are two steps here and I can control the overall science by clicking and dragging this left and right and say, I'm gonna leave it like that And whatever I do here is also going to be reflected on the backside to If I fly around you see on the backside, I have the same kind of bevel zoom around. The reason why the entire shape or the entire set of clones are being affected is because on the random effect, er, just like the fields that we looked at on the particles, there's an option called Full Off on that by default is set to infinite meaning that every single cube or every single clone in this case is going to be affected by the same amount. If I go and create one on simply fight to select these two rectangle and the circle and drop them inside the spine mosque and right away you see that the intersection here will disappear. So if I played us now again from the beginning, you see that this fear and this pin their intersecting each other. I want this one to follow that path. And then if I go push this out and then goes accordance again And then if I read, he framed this on, then if I play it, the cubicle traveled through the entire grid now, so if you play, this is animation will gets And now you're looking at the scene through the perspective off the camera. So I'm gonna go and said that 20 as well on our select this and also this point on, because I don't want a funny angle like this. Bouncing around the scene is an intensive task for the computer. But for now, I'm going to keep this simple and then just go to my voting measure the basic display color on, and I'll just change this from white to something that looks a bit cheesy, like that may be. And if I render this again, you see that the light is just going through as if the cube doesn't exist. But before I draw this, I'm going to change the type from beasts Plane to a busy explain so I can draw this freely so I can go click and drag so I can initiate a curve on. I'm from the front. I'll make this even smaller. I'm going to rewind that shift f on if I play again. So if I go atmosphere inside the same list here and then select the volume builder right away, you see that these are being fused. If you go and critics fear by clicking and holding down on the cube. So, with the leg one selected, I'm going to go to the coordinates on I'm going to go toe X coordinates and I know the with off the table is 600. That's going to give me a better file quality again. So I'm gonna go and make it smaller on if I make my particle emitter smaller as well. : 3 hours was remarked again, and again you can create some really interesting results this gizmo! Les, I want to animate the rotation off the bolas well, but how long this table. 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