[C4D] Artwork Tutorial 01 - Redshift

everyone has here so today we'll be recreating this artwork using mostly single for D and redshift to be minded I probably won't cover any post effects can the video might get way too long so that's good alright so here we are in Singapore D so the first thing you have to setup is the document settings we go nice general settings I always like to start with half the final resolution because it's easier to process on redshift I will select redshift as my engine and tone down the passes a little bit so to make this artwork right here we first start with setting up the floor and the sphere so we have a nice idea of the dimensions the book that we are going forward so let me just enable healing lines so I have an idea of the polygons on this floor scale this up a little bit then add a sphere I always go for the high cause I drew and then increase the segments a little bit that's a pretty simple artwork it shouldn't be that hard so let's set up the camera I always use a target camera so we always have like a nice control of the camera movements set a status viewport this camera and then maybe we'll set the position so we have a clean camera group right here right so for this artwork I use it fisheye lenses so to achieve this fisheye look you have to use redshift tag to modify the camera so he replied the fisheye effect and nothing will happen right here use neat press render and then click here so let me add like a dawn light so you can get yeah so always with the fisheye effect you have like these borders so you get rid of them you need to go to the tag and then increase this to 1.8 now we have like the fisheye effect but without the IDI borders right perspective here it's the camera a little bit lower so maybe something like this and maybe get the target a little bit up so notice that we have this horizon right here that's almost like this one right here right we need to increase this figure a little bit and we have two options we eat either increase this way which I don't like or remove the this fear we need to make this edible first let me move the axes down to this point right here so if we scale this fear right now it was still like stick to the ground then we can make this fear bigger something like this every camera needs to be a little bit lower yeah alright so the next thing we have to do is to set up the leaves like pillars on the side it's pretty easy nothing special we are basically cloning a bunch of pillars on the right and then with this symmetric modifier right here we like reflect to the other side so let me grab a cube right here and do some like simple extrudes just to make a diagonal pillar or something like this and we should be good to go it's really simple not nothing that complicated so we can place this pillar let me see yeah we can leave it right here because I will use the corner and we'll the cloner ruins at the position to the center so let's grab a cloner right here set the this pillar as child of the corner and then mess with the position something like this let's hit play so we can get a nice perspective on the position of the corner this corner uphill a little bit right here and click the amount of the pillars maybe needs to be a little bit thinner like this let's make it it just a little bit a little bit shorter yeah something like this maybe this you need to be yeah cuz I want more more of the pillars showing up yeah something like this then we basically need to use this symmetry modifier to reflect this to the other side that's just yeah so right now we have something like this awesome maybe we shouldn't Chris increase the height of these pillars I don't know it's pretty basic but that's enough to explain the process yeah somehow something like this alright so the next thing is probably to start working on the textures yeah I have like a texture on the floor that has this grid it's a little bit different to set up so for the floor let's create a red shift material let's call it or I will start getting rid of the diffuse Channel I pretty much never use it never use it let's grab a texture right here just a basic specular map so we can work with basic crunch map and a ramp just ramp will help us to get it get a little bit more control of the specular map maybe add to the roughness yes right so if we add this right here you already have the demamp I will maybe increase the tiles just so we have like a smaller cap texture let me get this camera right here and I always like to maybe mess with the values a little bit I never use it like full black or full white always something in the middle all right maybe a little bit right here so you can get ya more reflections perfect so the tricky thing right here is to make these wires right so to do that I need to use a material blender because there's basically two layers on that material there's a base one that's this material that I've just made and there's a second one that's basically an incandescent material it's the same as the emissive material of the standard render that goes in the second layer right but if I make it an additive play right now nothing will happen because the blend color is full black but turn it white it's basically a multiplying the values or adding the values and I don't want that I want to use a texture as the plain color just as we would use a mask on Photoshop right so let me grab a wireframe node it's wireframe it's pretty awesome because it uses the polygons of the object to display a wireframe of it so we disable the healing edges so we have holiday these square ones and invert the values so we can have like a a grid and maybe increase this a little bit right Tamizh so if we use these as the blend color often Condesa material we have both of the base material and the de grid on top of it so if you go to this perspective we have something and if we want to change the amount of grids we just need to change the amount of segments of our plane right here some pallidus the thing is that on the final render the grid it's not like fully active there is another mask on top of it to create some variation to do something like it we will need to raise the red chip yeah we will need to add a composite color composite so we will use this node to mix both the wireframe and another texture that will simply be duplicated grab another texture that has a little bit more contrast maybe this one and go to the land color and set the color composite to multiply this way let me connect it directly to the output you have something like this let's change the camera so we already have some like missing missing parts so we've mean words we have something like it like this right so we pretty much can change the amount of of it with these sliders of the ramp but again if we add it to SD where is it yeah if we add this as the blind color instead of just the wireframe you have something like this right so if you go to this perspective it's basically the same thing as the that's the final one right okay okay we're pretty much there um another thing that's nice to add it's maybe a normal map to the to this floor as well but it's not like a central or anything let's duplicate this material and maybe just disable this part right here and use only the base one for the sphere the main texture go to the sphere and now we have something like this it's always nice to change the UV map into spherical nice alright so for the pillars you don't need anything special let me see right here yeah it's basically the same type same texture as the floor and just get it a pillar one all right it's basically the same thing all right yeah so we need to change this right there we need to change the UV mapping of this texture because it's like completely stretched so if you use cubic yeah much better and then we can always add a bevel deform because this will help the pillar you have like software edges yeah that's enough just check right here yeah perfect so we probably have something like this yeah I mean yes change your hidden lines perfect so we probably good to go to lighting that's like one of the main aspects of it so right here I may be used in HDR I yeah yeah it's probably pitch dark so with the dome light we can apply HDR map so let's go to my materials HDR black one I probably use this one it's a free pack I don't remember exactly where I got it but it's free I remember this one's free so if you like lock the camera and maybe disable the background and change 180 look maybe and khrysta exposure a little bit yeah we are almost there almost right so we probably have like half of the lighting figure out okay so for the background like probably yeah I use volumes well the thing that I always like to do is to apply some volume to the scene so I go to redshift environment to set up a basic fog and what I like to do is to have a a spotlight that it's not actually but no not spotlight like it's points right yeah but it's actually not lighting the scene if you go right here let's disable this yeah we can't see the spotlight but if we go to the volume tab increase D how how much of the volume it effect you're starting to get like a little bit of volume right here and maybe increase the intensity multiplier right the thing is I don't want these T's light affecting any of the other materials I just want it like affecting the volumes so go to the Ray tab and disable the fuse glossy and you're pretty much everything in this light won't affect the surfaces but only the volume so it's pretty nice so we can use it maybe to light the background without affecting the other stuff in the same maybe something yeah right here don't remember exactly leaving Chris increase the you can tell you a little bit yeah right getting there and probably using like a blue-collar as always yeah everyone getting there okay all right and we can always use the night shift camera tech to add some bloom it's not essential but the works helps blend this part a little bit little bit so right now if you if you take a look on this final render there's like a silhouette on top of the sphere and we don't have this silhouette right here because the silhouette was made using like another another area light so this area light it doesn't have any purpose in lighting the scene the lighting is pretty much done but the thing is I use it it just to give a little bit a little more silhouette to the sphere after all that's the main object of the scene it's always nice to give contrast from the foreground to the background so let me change like 90 degrees right here something like this let me play it Jesus Christ all right I still have to figure out the position yeah oh that looks bad really bad all right let me try to understand what the did I do yeah something like this all right if it's too strong that's a problem yeah it's probably too strong so yeah Chris decides a little bit and starts having like the same silhouette that we have right here maybe a little bit more less right here maybe more right here and then change the color to something like blue yeah and then Christy yeah something like this so it's nice because we have a little bit more contrast between the foreground and the background maybe this dome light needs a little bit more like a plunge yeah and we can always like adjust the red amount later so maybe to end this we should of course there are some final touches that we have to change like on the final one this ground is like red and stuff so it's nothing that that is sensual maybe using a five intensity right here we can maybe offset this texture a little bit so we can get different results on the floor and that's something that's really easy to animate and gives a nice result you can always animate this mask and we have like lines there are literally moving and stuff all right so yeah I think that's basically it I mean the final one has some post-processing effects and this little guy right here let me see if I can grab this little guy marriage and then get some of the models [Music] you model for a model three yeah walking yeah that's the same guy I use it something like this no like this maybe a little bit closer to the sphere way smaller yeah something like this yeah all right so that's pretty much this thing maybe maybe add some normal Maps right so if you can see right here let me render this out this glossy glossy areas doesn't have any like details so what we can do is to add a normal map on top on top of everything so it add detail on these glossy areas as well so these girls right here normal map to the base material about the inputs then we can get like texture for protects blaster I like this normal map a lot maybe repeat like three times so we can get like smaller version yeah so we started having like details on the floor as well and disable this yeah so we'll start getting a little bit more detail on the floor as well and we can add it to the sphere as well so okay I think that we are good to go well I hope this video helped you understand how I do my stuff if you have any question any questions at all feel free to reach out to me in the comment section down below or maybe DM me on Instagram whatever you like and make sure to check all my social media links down below so thanks

Channel: FESQ

Views: 3,579

Keywords: cinema 4d, tutorial, 3d, 3d art, digital art, adobe, animation, after effects, neon, mixamo, daz studio, process, pipeline, maxon, redshift, redshift render, scifi, scifi art, fisheye

Id: BJLqEsvcZmA

Length: 20min 48sec (1248 seconds)

Published: Sat Apr 04 2020