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C4D TUTORIALS HOW TO
In this session Chad shows how to build a scene using splines (including sweeping and extruding), and Elly takes us through some of the motion graphics possibilities available inside of Cinema 4D Lite, plus how to take advantage of the fracture object and combine it with effectors and fields for some quick and fun MoGraph animations.ĭownload project files from the Demystifying Post Production sessions:Īsk us a question!. The techniques in these sessions are suitable for a wide range of applications, from indie artists and multidisciplinary teams to editors and motion graphics designers.
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Join the Maxon Training Team as Elly, Darrin and Chad help you integrate 3D in your After Effects projects.
C4D TUTORIALS FULL
Furthermore, Jonas will show the advantages of rendering in ACES and how you can comp everything together with full control over the lighting of your scene in After Effects.Ġ0:00 Introduction and what we are going to createĠ1:32 Creating an object and setting up a displacement material in RedshiftĠ6:21 Creating an emission map from the displacement textureĠ9:57 Creating variations of the displacement materialġ2:28 Setting up the title with animation using MoGraphĤ1:39 Setting up the After Effects project and composition to support ACESĤ5:18 Playing around with the composition + Final resultĭemystifying Series: C4D Lite for After Effects: Part 2 You will learn about Cinema 4D’s award-winning MoGraph toolset and how you can set up spectacular materials and atmospheric lighting. In this presentation, Maxon Master Trainer Jonas Pilz will show how to create eye-catching cyberpunk title animations in Cinema 4D and Redshift.
C4D TUTORIALS MOVIE
In the process, he’ll look at multiple ways to create 3D objects using Cineware and Trapcode Form, he’ll create disruptions in those particles using a clip from a vintage martial arts movie (Ninja Death III, if you’re curious), quickly create scrolling lines of code using plugins from Red Giant Universe, create and track a procedural reflection using tools from the VFX Suite, and composite it all together using Supercomp.Ġ4:10 Isolating the selections to the jointsĠ5:12 Getting the character into CinewareĠ6:43 Putting AE tracking data in Cinema 4DĠ8:00 Setting up Live Link between Cinema and After EffectsĠ9:45 Creating a hologram with Trapcode Formġ1:30 Using Cinema 4D files with Trapcode Formġ2:51 Changing the look of the Form particlesġ3:43 Affecting areas of the Form using the Curves interfaceġ5:55 Using the Fractal Field to affect the particlesĢ0:15 Using the Fractal Strength Over CurveĢ3:20 Affecting Form particles with audioģ0:13 Creating code with Universe Screen Textģ3:49 Creating advanced reflections with VFX Suite’s Reflectionģ7:50 Making a tracked reflection using King Pin TrackerĤ0:12 Using Supercomp to composite the layers togetherĤ3:53 Final result, final thoughts, final tipsĬG Event Rewind: Creating Stunning Cyberpunk Titles in Cinema 4D and After Effects | Jonas Pilz In this session, Maxon Senior Trainer Chad Perkins will create a 3D metaverse scene in After Effects by sending camera tracking data from After Effects to Cinema, bringing in a 3D character from Cinema 4D, turning it into a hologram, reflecting all of that into a live action plate, and compositing it all together.
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In this video I will go through these scenarios in detail and explain how to avoid them.ĭeep Dive into Refractive Objects - Setting up Objects for Correct Refractions (Ice with bubbles is inside water).įinally, refractive objects that are touching another, non refractive solid object, should NOT have any overlaps, and rather have a small gap between them. This may work in some circumstances, but will fail when the composite object is inside another medium. The Single Sided Glass Problem, that causes thin glass objects to act as a thick lens rather than thin glass, mainly from the lack of model thickness.Īlso, inverted polygon normals cause inaccurate renders and artifacts on most renderers, and although Standard and Physical are quite tolerant, Redshift, and all other modern renderers are NOT.Īnother frequent issue is caused by the assumption that in order to create cavities in objects, for example bubbles in ice or water, you need to reverse the normals of the bubbles and connect the outer model with the inner one. When setting up scenes with Refractive Objects, I have observed over the years, a number of errors that happen frequently.