Posted On:November 2010 | Greyscalegorilla
I wanted to give you a sneak peak at an upcoming Cinema 4D tutorial about making this glass mesh soft-body thing. As always, I encourage you guys a chance to give it a try yourself first. There are quite a few different ways to do this one, so I think the results will be interesting. Drop your experiments in the comments and stay tuned for the full tutorial soon.
An experiment at the Dunes with my camera my friends and the dogs.
Filmed with the GoPro HD HERO Camera Naked at 60fps, slowed down and color graded in After Effects with Vintage Film For Looks. The quality of the video is really good for such a little teeny camera. I love that it’s water proof to, so I don’t mind the dogs biting and drooling on it.
Another note. It’s amazing what slowed down footage and a sad song will do to a fun day at the beach. Music is more than 50% of the mood. Just saying.
This animation from Mauro Misiewicz was the scariest entry for me. That sheep freaks me the heck out. Congrats to Mauro, the runners up, and everyone that entered. Stay tuned for another five second project coming soon.
I have been playing a ton with image based lighting lately. It’s basically using purely HDRI images and Global Illumination to light your scenes. It’s a bit tricky to use GI with animation. But, for stills, it works wonders. More to come soon.
Getting ready to record a new tutorial based on this cool logo style by BEELD Motion. I wanted to give you a heads up to encourage you to give it a try on your own before the actual tutorial comes out tomorrow. Post what you come up with!
UPDATE: Just Posted the tutorial. You can watch it here.
I wanted to repost this Live Cast from a while back about CInema 4D Version 12. It covers a lot of the new features of Cinema 4D Version 12 and goes over how to use some of them. I know it’s a few months old now, but I thought it would be useful to those of you that missed it. If you haven’t watched GSG Live, you can see all the old episodes over at the UStream Channel. Even better, you can watch them live most Wednesdays at 2pm central, here.
This animation by Candas Sisman has been making the rounds around the internet lately. It’s a really great abstract piece that was made with Cinema 4D and the HDRI Light Kit Pro. Everyone seems to be asking how it was made. I recently had the chance to ask Candas about some of the techniques he used to make FLUX. Excuse the short interview and his english. He is from Turkey.
Congrats on the success of FLUX. People seem to really love this piece. How did you make all the abstract shapes? Did you use deformers or mograph?
I used both of them , mographs like cloner object, random effector, fracture object, and deformers like explosion fx, wrap, boole, atom array, and Wind.
How did the HDRI Light Kit Pro help you with making FLUX. What lights did you use?
In your light kit , I used Skylight, overhead softbox, and materials from No floor studio (i changed a little bit ), and some default lights …i didnt use global illumination, i had no time for this …and a lot of compositing stuff in After Effects. Plus, I used cinema 4d, after effects and adobe audition for sound ..various plugins and vst.
There were quite a lot of comments yesterday about the cost of new machines and if it’s worth it. Here is another way to look at it. A faster machine isn’t just about speeding up your renders. It also allows you to make more beautiful work. How? Well, it’s not what you think. Being able to turn on more effects or turn up your anti aliasing isn’t what matters. Instead, it’s all about iteration. A faster render time allows you to see your changes in closer to real time. This allows for more experimentation and leads to more creative and beautiful solutions to problems. Of course, beautiful work was done on computers tens of years old, but it took years of trying different solutions and months on a render farm instead of just an afternoon of render tests with our current multi-core wonder machines.
Oh, and for everyone that asks, “What computer should I get for motion graphics?” I have an answer that will always be true even years from now.
Get the fastest machine with as much ram and the best video card you can afford.
Motion graphics, video and compositing is VERY computer intensive. Be sure to get the right tool for the job.
Many of you have been asking about my new 12 core mac and if it’s worth it to get that much machine. Well, I screen captured some Cinebench renders to compare the speed of all three of my machines including my new 12 core Mac Pro, my old 8 core Power Mac and my 2 core macbook. This way, you can judge for yourself.
Sure, it’s expensive. But remember, it’s one of the only things I need to do my job other than software, coffee and American Apparel t-shirs. Plus, I only get a new machine every 3 years or so and want to just stay ahead of the curve for a while so I don’t have to worry about it every year. Did I mention that it’s tax deductible? What machine are you running?