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Learn some new tips for squeezing out all the power you can with Mograph Effectors in this Cinema 4D Tutorial.
In this video, Chris shows you how to make Mograph Effectors even more useful with the weight transform and a technique for driving keyframe animation entirely with falloffs.
What will I Learn?
In this video we’ll the basics of the weight transform, ways to layer up different weights, and end with a bonus mini tutorial about driving your keyframed animations with falloffs!
Learn how to displace geometry in this quick tutorial by Nick Campbell.
BONUS Tutorial: Color Grading For 3D In Photoshop
Transform your plain 3D render into something more beautiful with Photoshop and color correction tools. Here Nick talks about his process for color grading daily renders in photoshop.
What will I Learn?
In this video we will explain a couple ways to displace your models. First we will discuss Sub Polygon Displacement, which adds detail at render time. Next, we talk about the Displacement Deformer which distorts your objects live in the view port.
Where can I learn more about Sub Poly Displacement?
I did a extended video covering Sub Poly Displacement back in 2010. You can find it here.
In this tutorial, you will learn the Three things I add to almost any reflection to make a more realistic render in Cinema 4D. Then learn how you can speed up your texturing workflow with our Topcoat Plugin for Cinema 4D.
Plugins Used In This Tutorial
I’ve been itching to do a little bit of character rigging so today we’re going to rig up Whaley using joints and some easy weighting tricks then use inverse kinematics to drive most of his movement. A little looping animation from Signal and we’ve got ourselves a happy little Whaley! Whaley was modelled by our friend Patrick Goski, head over to his site to see more great models. Head to the bottom of the post to grab the Whaley model to follow along.
In this Tutorial we will:
Create a skeleton using joints
Use the weights manager to quickly bind the joints to the model
Add IK to add dynamic rig, even avoiding collisions.
Animate just four parametrics using Signal to get a fast, fluid, and happy animation
Please share your creations and questions in the comments below!
Lil’ Coffee Breakdown: All Motion Blur and Depth of Field was added in After Effects.
I realize that the title here is a bit bold, but in my case (and possibly) yours, this is very true. I ran into a fellow artist who at an event who pleaded with me to cover this issue. This artist did not have a giant render farm, nor did he have a multi-GPU setup using Octane. He simply wanted to know the correct workflow for doing Depth of Field and Motion Blur in After Effects. A method that didn’t result in artifacts or other anomalies. So, as I promised, here it is.
“A WHOLE tutorial about the Depth Pass?”
Yes and no. This tutorial is about saving a TON of render time by NOT having to render your Depth of Field and Motion Blur in C4D’s Physical Renderer. With a couple of After Effect plugins and the correct workflow, you can save yourself potentially hours of rendering.
What you will learn:
- How to add Motion Blur and Depth of Field to your C4D render in After Effects
- What is needed out of a Depth Pass to achieve proper results with Frischluft Lenscare
- What a “Position” pass or WPP is and how it can be used to generate a correct Depth pass
- How to set up a multi-layer EXR output for After Effects
- How to properly set up your After Effects comp with Frischluft Depth of Field and RSMB plugins (see links below)
Tools you’ll need:
- Cinema 4D R15 or Higher
- After Effects CC
- Frischluft Lenscare
- Real Smart Motion Blur or RSMB by Re:Vision
Let’s Get to the Tutorial*
* So Ihab in the comments found a mistake, so thanks Ihab! Looks like I grabbed the regular RSMB plugin and not the Pro Vector version which reads your vector pass. Sorry about that folks. Grabbing this Pro Vector version and choosing your vector pass will give you more accurate motion blur results.