Cinema 4D Tutorial - 3D Pickle

thanks for tuning in everybody today using cinema 4d r14 studio I am going to model texture and render of all things a pickle now this is because I was doing a project I was looking on the internet for tutorials on how to build a pickle I couldn't find one so I thought why not make my own this tutorial is geared toward intermediate to advanced users in cinema 4d I'm not gonna cover the basics so hopefully I don't go too fast so you can keep up and for those really advanced users better than me I hope I did go fast enough for you now I'm gonna try to keep this whole scene using parametric objects and procedural textures and what that means I'm not going to convert any geometry I'm gonna keep everything live and all the textures I'm not gonna use any scan photography everything's gonna be generated right from within cinema 4d and I'm not gonna use any third-party plugins I'm gonna try and make this look as realistic as possible and as flexible as possible so we can always change things down the line if necessary so let's start by building a capsule and it's important to note that cinema brings in all primitive objects like cubes and spheres and cylinders that brings it in with a generic unit of 200 centimeters and that's pretty large for a pickle and I prefer to build things in real-world dimensions that way later on down the line if I want to put something in a project that has actual physics and dynamics I want those objects to have real-world dimensions and mass and interact with gravity and that sort of thing so what I want to do is I want to change the height of this pickle from the 200 centimeter default down to something more realistic like 12 centimeters and that means also changing the radius to something more like 2 centimeters it's important to note that all primitives are built from the floor upward in the y-axis so this is the bottom of the object and this is the top I'm also going to change the orientation from Y to Z but remember this is still the bottom and this is the top even though visually we've rotated it it's still calculating all the ordinates from bottom to top and that's going to be important for a little later when we start texturing this thing if you look at the default geometry - there's quite a lot of of polygons in here and we want to keep the poly count low because this is if we decide to put this object in a replicator or a cloner or a particle emitter and we have hundreds of these pickles flopping around we don't want the computer to have to calculate every single one of these polygons every time so we want to keep the poly count low and we can we there's tricks to tease the project into thinking there's more geometry later on so I'm going to change the height segments to the three cap segments to three and I want to change the rotational segments to something like eight now you can see when I render the Phong does a good job of smoothing it out internally but you can still see that wireframe edge out there so we can resolve that by putting this now into a hypernurb cage and hypernurbs just smooths that back out it's subdivides this low-quality geometry this low poly geometry and it puts a smooth modifier on it and it tells it subdivide that low geometry into more into more pieces at render time so I'm also going to change the the difference between we're viewing two subdivisions in the editor I want to change it to two subdivisions at render time as well because there's no need to calculate the extra geometry because I'm pretty happy with what we're seeing in the editor and that'll do us just fine at render time as well and there's no need to add that extra processing time when we could when we start to render this scene so we want this cylinder to look a little bit more like a pickle we do that by adding a taper modifier and taper modifier comes in at a fairly large size based on those default primitive sizes of 200 centimeters so we want to scale our cage our taper modifier cage to match our geometry now remember we did a two centimeter radius which would be a four centimeter diameter of this capsule so we're going to change that the size of that taper cage down to match our capsule which is four by 12 by four and again builds from the bottom up we rotated the capsule so we build the taper from bottom up and we want to rotate the taper cage so we change the coordinate and we rotate it 90 degrees and we want to make that taper a child of the capsule then we'll come in here we change this strength slider and then you can see we can taper our object that's important to note if we didn't rotate that cage that taper is going to affect it in the wrong axis and that's why we spin it around to match the cage set that back to 90 another feature is the curvature you can bulge this taper out so it's not just a linear from the bottom to the top you can add a little arc to it kind of looks like an ear of corn doesn't it so we'll set this number to something like 30 and 200 and that gives us a nice taper maybe we go 35 the next modifier we want to do we want to add a little curvature to this capsule because as this is growing off of a vine it doesn't grow in a perfectly straight line it actually bends a little bit so we do that by adding a bend modifier and again the cage comes in really huge so we want to scale it to our object which is 4 12 and 4 and we want to rotate its axis as well for the same reason make the bend modifier a child of the capsule as well and now you can see it bends the object around but what it's doing is gluing that geometry to that cage right now so that as that cage stretches so is the geometry and we don't want that to happen we just want to bend it without changing without stretching it so here's this option here to keep the y-axis length and we turn that on now it's not growing in size it's just taking the length that it isn't bending now you also have this angle where you can swing everything around and you got to keep your mind out of the gutter when you're playing around with stuff like this okay have a lot of fun but we're gonna save that for later we leave this at zero because eventually we're gonna put this pickle on a floor or table or surface and we don't want that to sink below the floor and we don't want it to float up into the air so we're gonna leave that at zero and we're off to a good start let's give this a little let's give a little render and here you go an eggplant so we want to add some color to this so we can make it more like a pickle because we're not making an eggplant today also what I want to do I want to hide the modifier cages because they're kind of getting in our way and adding more clutter to the screen than we want so if you turn off the check box you're gonna actually turn off the modifier itself which we don't want to do all we want to do is hide these cages from our editor which is this top traffic light button you hit that turn it red and it hides it from the scene I'm also gonna deselect the objects entirely just so it hides any thing to clutter up our screen when we're coming in here to add some color right now I turn on our interactive render region line that up and I'm gonna bump up the quality on screen so the renderer looks nicer it's gonna open up our default material in mine by default I have everything turned off because I'm always modifying everything now we don't want to just add a solid green to this because we want it to look as realistic as possible so we're gonna achieve that by adding a gradation from the bottom to the top remember it's on its side so this is the bottom and this is the top so under our color channel under texture right here we can add a gradient but I'm gonna add it more than just the gradient I want to add a couple of different textures stacked on top of each other so I'm going to do that by creating a layer then I'm going to go into the layer and here I can add the gradient now remember visually we're going left to right but the coordinates are bottom to top so this can be confusing this gradation is going visually going the direction we want but you can see if we add that on here it's going left to right because our objects on the side so what we want to do is we want to change this from bottom to top you go into your gradient you change it from 2d you to 2d V bottom to top and now you can see the gradation goes from bottom to top just like we want so I'm gonna make our base color we want to a green but we don't want this neon cartoon fake green we want this to look as realistic as possible so we're gonna bring our green down to a nice dark d saturated organic green color and then on our bright color we're gonna do the same we want kind of a lighter shade but we still want to desaturate it in organic something like that now you can see we have we have something almost like subsurface scattering where the where the fat end the light isn't passing through as much as it is on the light and and that's really great because that can help fake the illusion of subsurface even though we will actually add some subsurface scattering to this in a minute I'm gonna make that base color a little bit darker so there's a little more apparent fall-off the next thing I want to do is I'm going to add Afrin elder now mostly you are familiar of using fernell is a mask for a reflection fall-off where the area facing the camera is invisible and then the angle fall-off from the camera the effect gets more intense well we're gonna use this as a color shader not a mask this time and the first thing we want to do is we want that black to disappear so it shows that gradation through there so much like After Effects or Photoshop you change your blending mode so it's not black and white you want that black to disappear in that white to show and you do that by setting it to screen which makes black invisible and white opaque and now that gradation is showing through underneath but this is too intense of an effect so we want to go into our fernell and modify it and for starters I want to bring that ramp down that midpoint down so the ramp isn't as strong and I want to clamp our black down so it's a little less intense now you can see it's starting to form a fake rim light and if in fact that's what fernell is but we don't have any lights set up in this scene this is just the default lighting in cinema right now so this is giving us a nice cool effect that there's a light behind the pickle however the white is making it not look very real if this surface is green then the rim light would have a little bit of the same color tint to it so we're gonna change that white to more of a yellowy green color and this will give us something a little more natural now that looks like there's a light off to the side lighting up the edge of that pickle and that looks kind of cool maybe make it a little more apparent there we go that's kind of interesting now we also want to add texture to the surface of a cucumber because because no cucumber grows this smooth in nature so we're gonna do this by using a displacement shader and displacement does exactly what it sounds like it's going to take this and remember this is a hypernurb cage on low poly geometry we're subdividing it with hypernurbs and then we're going to within the displacement shader we're going to displace this geometry and subdivide it even more so this surface physically changes its shape so we're gonna add a map that anything white is going to push the surface out and anything black is going to sink the surface in so what that means is we need a neutral base for this and we do that under displacement under texture again I want to do the same thing I did in the color channel I want to stack multiple textures in this displacement so I'm going to create a layer shader and in that layer shader I'm gonna add our base layer of a color by default it's white I'm going to slide that to 50% and now that's our base that's our 50% base that is neutral what that means is if I turn on the interactive render region nothing changes if I turn displacement off it looks exactly like when it's turned on because 50% does nothing at all and that's exactly what we want on top of that now I can add a noise shader and remember the scale is off in our scene currently because we're working at a much smaller scale than the default so we're gonna have to mess around the scale in a minute but let's let me show you what these settings do I'm gonna come into noise and what I want to do is I want to pick a noise that kind of resembles that the bumps and the pimples on the surface of a pickle and we do that by changing the noise - this one looks really great I don't know how to pronounce this if anyone knows how to pronounce it for annoy one it's this really cool like cellular it almost looks like a bunch of bubbles pressing up against each other now what we can do is we can modify the high clip on this and we can bring this number down to something like 35% and look what happens it's almost like it's adjusting the contrast on that and we bring that down to 35% and we get this really great effect because it's creating organically different sized bubbles for us we've got some really dark large circles we've got some smaller circles that are less intense and we can bring up the low clip to kind of push the contrast a little bit on those now we're gonna use this as the displacement but look from our preview here the black pushes in and the white puffs it out we want the opposite we want the white to push out and the black to push in so we're gonna invert our colors I'm just gonna do that by dragging the black onto the white and then click on this and bring it back look what's happening in our preview right now now this is happening for two reasons one the scale is off our scale is much too large and too this black is pushing the geometry and so we're going to want to change that blending mode get rid of that black so let's change this scale down to something like 10 and then back out and change the blending mode to get rid of the black we just want this white dots to show on the gray so we can change this to screen now you can see what's happening our base gray is keeping our pickle the same size and then our white dots are pushing everything out but the global scale of our displacement shader is much too strong so we want to knock this back to things we can do first though if you recall this is a low poly shape it's subdivided with hypernurbs now what we also want to do we want to subdivide it even more in the displacement shader but when you turn this on there's no physical update in the editor but you'll see it when you turn the interactive render region back on now you can see it's subdivided that surface and we turn that off you can see what's happening it's much rougher here and you turn off the hypernurb you can see is really rough so hypernurbs subdivides at one level and then the displacement subdivides it again and we get a lot more descriptive detail off of that noise shader there's another option here called round geometry and I don't know if you can see here in the render preview these wire mesh lines are actually showing up with the sub poly displacement there's this option to round geometry and that's gonna smooth all of that surface out and it's gonna add some more smoothness to these bumps now this could be processor intensive at times I've done some projects where I turn on round geometry and it exponentially changed my render time so use that sparingly it seems to be okay in this small scene but obviously now you can see our strength is way too out of proportion for the scale so we're gonna bump that down from a hundred to something like ten now we got a caveman Club here and I think the heights a little strong so I'm gonna knock that down to one centimeter from five and that's looking a little bit better now the scale of those bumps is a little strong go back into our noise I want change it from ten to seven maybe and that looks pretty good now the surface is still a little too smooth if you look at a pickle it's got kind of wrinkles it's been sitting in the juice and it's getting all wrinkly like you're skiing in a bathtub so we want to add a little extra surface on here so I'm gonna back out one I'm gonna add another shader another noise shader this time I'm gonna make it crane oh let me scale this up so you can see it's got this really cool this kind of doesn't look very photorealistic at this scale but it gives us this great effect when we scale it down to something like 10% and look what that does it's pretty cool it's got a quilted texture almost like toilet paper or actually looks like a big green turd if you're not too careful now the problem is we stacked that above our bumps and it's set to normal so it's not letting the bumps show through so we want to change that to a mode like overlay much like Photoshop blending that 50% will go away white will puff up black will go down and it lets the to show through but I like to I want to stack it I always want these bumps to be the the top most modifier so I'm going to take those quilt lines I'm going to drop it below I want to have one more displacement shader so we're gonna come under shader when the pickle is growing there's gonna be some grooves in here right now this is like still a super round surface we want to kind of change the shape of that in it so it's not a perfect circle if you were to cut it down the middle we want to have these grooves traveling the length so we come under surfaces in tiles and in tiles we're gonna leave the grout at black but we're gonna change all these default colors to white and that's kind of cool it looks like a hand grenade right now but we're going to change it from squares to lines but the lines are running in the wrong direction we want the lines to run the length so we want to change the orientation from u to V because remember it's top to bottom and we want to change our grout width to zero and our bevel width to 100 so this is a bit intense but this is the idea so what we're gonna do come back out and remember I want those bumps to be the top most displacement so I'm gonna drag these lines to the very bottom above our 50% I'm gonna change that blending mode to soft light so the stack is our gray our grooves are quilt and our bumps now these grooves are a bit too extreme so we're just gonna change the strength of that from 100 down to something subtle like 20 and now that kind of relaxes that intensity but we're still getting these really cool how the fernell is interacting with it on the edge and we're getting these grooves that are kind of passing through the surface and it looks pretty great even make that a little stronger like 30 it's pretty neat so off to a good start now to get this looking a little more organic these bumps on a real pickle they are they grow a little darker I don't know if the skin is thicker over the bumps or what causes it but we want the exact coordinate position of these bumps so we can do that by copying this bump channel remember this is the just the bumps alone we're gonna right click or control click and copy that Channel we're gonna come over here to diffusion we're gonna enable diffusion and right under texture we can paste that same channel with the same bumps and coordinates and now remember we inverted the colors we want the field to be white in the bumps to be dark so we're gonna come inside here we're gonna swap these colors out and by doing so now the field is clear and the dark color is on the bumps but we don't want this black we want this to be kind of a green and remember this is like a diffusion blends with kind of a multiply so this doesn't have to be a dark green we can make this somewhat of a light green and when we hit okay there we go now our bumps on the surface are dark this is pretty cool I also want to put some little white speckles on the surface so let's go back to our color Channel and remember our layers stack here we're gonna add another noise shader and again we're gonna pick the same noise the Voronoi one for annoy one if anyone knows how to pronounce again please we're going to change that scale way down to like two that's gonna give us a bunch of dots all over the surface again we want to bring that high clip down crunch that way down and again we want the dots to be white in the surface to be black so we invert we should get like star field here and this is exactly what we want because now we're gonna come out here and change the blending mode from normal instead of screen and then it changes to a dodge that's gonna give us kind of an iridescent speckle color which is really cool but too intense we're gonna drop that from 100 down to 10 for much more subtle effect and there we go this is all starting to come together really well so let's move away from texture and shading for the time being let's close our material editor let's turn off our interactive render region now what I want to do is I want to add a floor to our scene so come under the environment tab add a floor and everything comes in at zero zero zero coordinates in here so we can either lower the floor below the picol or raise the picol up I prefer to raise the picol up because if I bring this into another scene I don't want it to always be coming in in the middle of the ground so I'm gonna raise the picol up instead but we've got our hypernurb our capsule our taper bent all these have a coordinate system on them but I don't want to change the axis on any of these because the way they interact with the geometry kind of want to throw those Center points off what I'm gonna do is I'm going to put this whole hypernurb into a null so I'm gonna grab a hypernurb if you do option or alt G it puts that into a null group and now what we can do is change the pivot point of the null without affecting the pivot point of any of the objects inside so I'm gonna switch to a different camera view like front or right doesn't matter if I grab the object and select the frame remember it's dangerous though I just grabbed the hypernurb we want to make sure we grab our null because we want to change the axis for the null and not the hypernurb or anything inside I'm gonna turn off snapping I'm gonna grab my axis tool and with the access tool selected I can now slide the axis around without moving the shape and I want to put this at kind of the meaty fat part the the most round part of the bottom of the pickle it will change camera angles here that's a good thing I changed from front to right because I was way on the wrong side of the pickle zoom in here and let's just put that anchor point right about there in fact we could probably put it here this seems even lower all right now what that's gonna allow us to do now remember turn the access tool back off so now if we grab that point move it the object moves this black line is our zero zero point so we want to slide that pickle up to the floor now and zoom in drop the pickle to the floor it's okay if it intersects a little bit and we want to rotate and drop it to the floor and we can spin around let's go back to our perspective mode we could spin around it looks like it's resting on the floor pretty good so now at this point let's hit render see what we've got okay now we got our pickles sitting on a floor but there's no fancy lighting or anything going on in here so let's add some light we're gonna do that I'm not gonna put lights in the scene I want to light this with global illumination and to do that we do two things one we want to add a sky dome this puts this big giant dome over our world and then on that dome I want to apply a high dynamic range image that's in our content browser if you come under here under your Prime folder again this is cinema 4d r14 prime materials HDR I there's a whole set of pre-made high dynamic range images now you can use third-party you could take and make your own but for purposes of this tutorial I'm going to grab one that we can all use and this is the HDR io2 for I could drag it right out of the content browser onto my sky object if we go back to the viewport now you can see that dome now has that HDRI image projected onto it let me turn off the floor so I can spin the camera around now you can see that dome is wrapped with that HDRI image now that includes all of these windows these are actually going to cast light back into the scene because what that dome does is it projects all those pixels right to the center of the universe okay so this light from this window is going to project from the outer dome to the center and that's going to become a light source much like this dark corner is going to project those pixels in and it will be darker image and again more windows well here's the deal if I hit render right now you're not going to see that light I'm talking about because we haven't turned on global illumination we needed to tell cinema to interact with that HDR image to create that light so you do that by coming into render settings and you add the effect global illumination and you can change these numbers for animation or still image and you can come into sampling and you can even change the custom sample count and this will affect how long the renderer takes based on this sample number the lower the number the quicker the render and you can see when I hit render now it's gonna calculate global illumination and now this light is lighting the scene creating shadows and everything but you see how splotchy this is that's because I dropped that number down pretty low I actually don't prefer the standard render I prefer the physical renderer now if you come under render settings you change it from standard to fizzle you could still use the global illumination with the custom settings if you want but I'm gonna delete that under physical renderer I changed my sampler to progressive mode and what that does is it starts out with low-quality grainy renders and then it builds the longer you let it render it builds and tightens and refines itself this is really great when you're testing a scene because you could tell right away if your camera angle is right or wrong or if the lighting is right or wrong and you don't have to wait for all the calculations to happen this is really great when you're testing scenes so I like to leave this progressive on and I also turn on indirect illumination and this is basically the physical renders built-in global illumination and again I bump the samples down when I'm setting up a scene just so everything processes faster and now you can see the difference when I hit render takes a little longer to calculate but the results are pretty good now two things are happening one I don't want to see that projection map that's in the background here on our SkyDome I just want the light in the scene to be affected by that but I don't necessarily want to see this so when I grab my sky I can go under tags and cinema 4d tags I can add a compositing tag and all I have to do is uncheck scene by camera that that texture and that sky is no longer gonna be visible by the camera but it's still gonna calculate all of the settings it's still going to calculate everything we just don't have to see it when we hit render just like that it goes away now another thing that that SkyDome wrapped in that HDRI is giving us it's giving us an image to actually reflect back on to our object now this is really great because pickles are shiny and shiny objects need something to reflect but if we just had this floating in a vacuums of space with no nothing to reflect off of it it wouldn't look really interesting but now that we've put our SkyDome in in our floor there's something to reflect back on to this object so if i turn on our interactive render region you can see what i'm talking about but for the time being I'm gonna turn off the physical renderer because that's taking too much time so we're gonna go back to standard and we're gonna turn off global illumination for now now that's gonna render a little bit quicker for the time being and we'll come back into our material now I want to add reflection so we click on reflection you can see it adds a hundred percent reflectivity on this object as though or made completely out of chrome that's obviously too strong so we want to bring the brightness that reflection down so it's not as intense it's only caching where that lights hitting and then we want to add Afrin el texture as a mask and again remember Fornell as it faces the camera it blocks it out as it falls away it gets a little bit more intense that's a little strong to knock that back so our fernell is back our reflection is back and I kind of want to add I want to blur that reflection so it's not so it doesn't look like it's really super wet like water blurry or reflections give the illusion of a dollar surface so maybe we bump that blurriness up to like 20% now you can see and knock that edge of that reflection down starting to look a little shiny a little slippery and all these specular lights are being generated from the real reflection that's around so speaking of specular in 3d you have the option to add fake specular now generally you want your real reflection to generate your specular on your object but sometimes it helps to give a little bump and add a little a little cheat to the specular now this is a little too strong we're gonna knock that brightness down to about 50% now this is kind of making the surface that pickle look a little rubbery which is kind of a good effect that might be a little too rubbery maybe we bring up the intensity a little bit and maybe sharpen it so it looks a little a little more wet maybe that's a little too strong little more there I mean a little less there somewhere around there maybe okay now finally what we want to add is some subsurface scattering now that is going to be how light travels through this surface of the pickle now a pickle has a translucence to it unlike a rock which is pretty solid and not like water which is completely transparent it's somewhere in the middle you shine a light behind this thing it's gonna internally bounce around inside the guts of this pickle and it's going to show up so we want to add some global illumination that's handled under the luminance channel so if we turn on the luminance channel you can see right away it turns the pickle solid white because the luminance is just set to a solid white color and it's basically turning this into a light emitting object well we don't want this to emit light so we're gonna change the brightness down to zero so by doing that it's as if we didn't turn on luminance at all however under texture under effects we add subsurface scattering now this is going to generate some light bouncing around inside of the object but the default settings it doesn't look so great so we want to come into here the light that's gonna pass through the object you got to think about what's inside a pickle when you cut it open it's kind of a yellowy green it's not this gray color it's gonna be kind of a yellow-green color so we want to change these numbers to something that's a little more yellow-green let's try this see what we come up with and watch the display here as it updates now you can see that light passing through becomes a little yellow now to speed things up I'm going to turn off our displacement because remember we've got our hypernurb on our low poly but then our displacement is subdividing another four times and that's taking the calculation of our subsurface scattering it's taking it a little too long to figure out so for right now I'm gonna turn this off and that should speed up the process of subsurface while we're messing around with these settings another way to speed up subsurface is here under multiple now I don't know why this isn't default but even Maxon recommends changing the sample density from a hundred down to fifty will speed up the calculation process and it won't change the render start the render quality at all so why it's not set to fifty by default I'm not sure the next thing to keep in mind is the length that the light passes through this object now our pickle is 12 centimeters long and by default units subsurface is set to calculate a distance to let that light travel a path of 10 centimeters all the way through the object well that makes this thing virtually transparent and we don't want it to look like wax or piece of plastic we want there to be some density to this so we want to bring this number down but this is dangerous because the lower this number gets the more calculation that has to at render time and keep in mind once we put this displacement on in that subsurface is trying to calculate for all that geometry it's really gonna bog your system down especially if you have multiple pickles like in a cloner object or a particle emitter there's gonna be a lot of processor intensive render time happening so use this number sparingly another thing we want to do is the light as it travels through the object it has a fall-off so for demonstration purposes I'm gonna drop this from 10 down to 0.5 and it's gonna take a lot longer to calculate it's quick now because I have our displacement turned off but I'm gonna change this number of red from 100 up to a thousand and what that's gonna do is I can take red out of the center and but it's gonna leave it on the edge and same with green I'm gonna bump that up to 800 it's gonna take green out of the center but leave green on the edge but I'm gonna crank our blue up to a thousand so it keeps that yellow color in the middle another thing we could do is we could change the strength down from a hundred to 50 so that effect isn't as intense that light isn't affecting the the glow of that object as much and once we lock in all these settings and we're happy with them you could back out one and you can even change the mixed strengths here down another 50% if you want and I think that's the same as if you leave that at a hundred coming here fifty percent of 50 would be 25 and that gives you the same effect and again once all these numbers are locked in you're happy with them you come out here you can toy around with this setting until it reaches something you like so right about there let's close our material editor let's turn off our interactive render region let's reposition our camera find an interesting angle and here's what I was talking about earlier this is pretty great because I've kept everything parametric procedural I can come in now and still modify the shape of this everything's still fully editable and in fact if I wanted to change where the dots in the bumps on the surface of the pickle are under this displacement I can come into this noise and change the seed generator like 1 2 3 4 and it's going to recalculate the position of all these dots but remember we copied this channel and paste it in the diffusion layer so if you change it in one place you want to change it to the same number in the other place so those dots line up with each other but everything's fully editable unlike if we were to use a scanned photograph or if we were to convert the geometry we could still bend the pickle we could still change the position of the dots everything so now let's go back into our render change it to physical where I'm progressive we're on indirect illumination come in to our material we have everything turned on color diffusion subsurface under luminance reflection specular and displacement so I think we're ready to render we're gonna click render will fit to screen now this is gonna take quite a while to calculate because it's preparing that sky map in the global illumination and it's also preparing the subsurface scattering for the pickle and there we go that's looking pretty cool let's change the camera around spin the scene around a little bit see if we can't come up with a little more interesting camera angle and hit render one last time calculating sub-surface and the global elimination let's just do one last thing to make this a little interesting I'm gonna create another material for our floor on our color let's bring the brightness down about 50 and I want to add a reflection on the floor give it some blurry 15 and add some fernell on the floor drag that onto the floor maybe change the camera angle a little bit let's see how that turns out reflection is a little strong knock that down and for now so that's looking pretty cool with some reflection in the floor adds a little extra flair to the final render and there you have it there's our pickle subsurface global illumination parametric procedural fully editable I hope you enjoyed the tutorial if there was anything in here that you think could have been done quicker differently drop me a line I'm happy to teach but I'm always learning myself so I'd love to hear from you thanks for checking it out we'll see you next time

Channel: SioPio

Views: 61,870

Keywords: 3D Computer Graphics, Cinema 4D (Brand), 3D Modeling (Profession), siopio, 3D, Cinema 4D, C4D, tutorial, pickle, model, texture, render, parametric, procedural, subsurface scattering, SSS, HDRI, global illumination, image-based lighting, CG, CGI, modeling, how to, hypernurbs

Id: CbmSPabShhU

Length: 45min 3sec (2703 seconds)

Published: Wed Jun 12 2013