Cinema 4D Tutorial - Create Advanced PS5 Controller Renders Using Octane

so in this tutorial um i'm going to go over creating these ps5 controller renders something i've had my eye on doing for a few months now i created these renders over the course of the last week and you can flick through these here and you can see them and mainly kind of going to concentrate on the detail of the texture in the controller here and not so much the lighting i think the lighting is a pretty minimalistic approach and there's only really one key light and i kind of want to show you a more uncut process of me creating these renders to see how that performs uh there's always kind of those people that are saying oh you can make this tutorial could have been 10 minutes long but i want to kind of stretch this out and kind of lean into my natural workflow a little bit more and let you monitor that because there might be a little bit more to extract um rather than me uh forging a um a path for you to follow that may miss things out so i'm not gonna do the modeling again because um i kind of suck at it and uh i don't have time to model a controller for a tutorial um but i i will go over creating the render so if you want to follow along with whatever um model you have that is of a similar um kind of genre whether it's an xbox controller or um a console itself or you know it could be something retro it's all going to kind of at least in the last kind of realm of the last 15 years is kind of going to carry the same texturing and lighting tone probably more so kind of in in the last 10 years or so um in realm of products so you can see some of the renders i've done here and it's mainly octane noises um that we're going to be using um to kind of get that level of detail um in these bits and on here um it's a lot of fun to do that on the analog sticks actually it suits really well and even i'm trying to find that angle that i so here you can see i even created the texture um of the shapes um on the back plate uh which it has an actual controller which is awesome and you can of course see in my viewport here i was just doing some has been getting carried away with houdini but we're not going over that um i did some renders on the dark as well um because i saw a lot of things online when the bit of noise there that's not good and i saw a lot of things online of people speaking about how cool the dark controller would look and uh would be a shame not to not to do that and i actually tried breaking up the tone between the front and the back because well it's not a real product yet so you can kind of get a little bit carried away um with it and i tried a slightly darker blue here too which i think is a little bit more in brandon with these houdini simulations i was just kind of doing some brand play with the colors uh i thought it looked quite cool and then this was just um me messing around and again more brand stuff but we're not going into that um and just like last week's tutorial i will have a reference board a notion board that i've made i've not finished this yet but i'll pop the black controllers on there and my own renders and if you guys do some awesome renders whether it's xbox controllers or ps4 or whatever it is ps1 i really want to try some retro uh type game consoles with this kind of um style um send them over and i'll pop them on this reference board um because it's great for everyone to benefit from this so we'll get started here and just to kind of show you the approach i'm going to take i'm going to wipe my materials completely and we can just kind of start from the ground up and create everything because the only external texture i released i did use a couple surface imperfections but i ended up taking them out because again you know you want that clean look you don't always want the surface and looking all banged and dirty um so the only external texture we used was the um shape shapes i made in photoshop and which is super easy to make a couple shapes duplicate them a bunch of times make it white and black and then you put it in the bottom up um but either way everything including the houdini simulations the olympics will be on the store and so if you want to check out the project files you can do and although i will have two separate files so you're not because some of the atlantics were just like a horrendous size so um you don't have to download them if you don't want to and also i wouldn't suggest trying to use them unless you have a powerful pc because they're just not nice to work with in cinema anyway what are we going to start with so i have the controller set up i have my selection tags kind of um done and i would suggest looking closely at whatever model you're using and understanding the kind of way that the selections are holding themselves uh because it's vital to look at this and understand that um you know this part is glossy and this part is more rough and you can see that on these renders here and sometimes although it may seem obvious it can be a little difficult to spot this and then to take note of what material the kind of plastic ring is in here and um also can the differential differentiation between the sides of the triggers and bumpers and the top again it's not just one static material um and then again the same thing with the shapes here compared to the noise all from back here it just looks like noise as well um so what we'll do is we'll just open up octane because most of this is going to be done in octane and we can probably leave or or should i set up the lane first um i'll lay out a couple textures and then we can or should we move into the lighting first no let's see let's do the lighting first because i sometimes kind of feel like if you try to texture without lighting you can just be missing things and not seeing it properly so we'll we'll kind of scene direct this first on this just mac controller and then bring it back to bring the rest of the tutorial background to the texturing and whatever kind of nuggets of information i can give you in the rest of that i will um so yeah we'll get straight into that more kind of uncut tutorial i want to see how this goes because if it goes well um i'd like to do it more and be a bit more relaxed about cutting the creation process and i also think a lot of you may want that more so when it comes to products i'm just going to kind of elaborate a little bit here on focal length um the lower you put your focal length the bigger the product's going to look and i'm going to demonstrate this for a second but coming up here going to 25 millimeter and then duplicating it i'll store render buffer go into the second camera do 135 come back and then if you look here this is your 25 millimeter it looks very long very big and then this is your new camera and well it's pretty cool the difference between the two both can have their uses this one is cool i guess but i'm more of this type and i think it looks cleaner i think it holds um something in a composition much better than this and i think unless you're you know you've got to remember the size of this is controllers aren't big objects i wouldn't really suggest using um a focal length like that um if you want to you totally can but i'm not gonna um i just think usually people that are new to cinema can have a tendency to be not understand that you can change this um and you can write in whatever value you want you can go to five if you want and then do that um uh but yeah i i think uh it's useful to understand how to change that and it's even more useful to understand these down here and going into isometric views and stuff so what we're going to do is we're going to zero out our rotations and we're going to zero out and the first two parameters there and we should be looking at the controller fronton and uh if you come over here to filter or this will be view on older versions of cinema i'm going to turn off the world axis because it annoys me just like axis effects dude annoys me constantly can't stand them um and then what you can do is just turn this to path tracing and lock your live viewer and now we're in a pretty good position to set up some lighting so i'm going to run over the lighting pretty quickly because it wasn't really that difficult and so if you drop in an octane area light and we'll drop in a texture environment if you uh shove the texture environment to black um because currently this is on primary so it's going to affect your shadows um so if you want less dark shadows you bring that up and although it will change your background until we add in our own background uh so under details on the octane light um just do a 50 by 50 and get a relatively small light and then in the octane area light tag go to uh distribution and add in a falloff map and go into it and just change it to 90 degrees under the mode and bump this to 10 000 and then right click animation this will be cinema 4d tags if you're on an older version of cinema and grab a target and just make it point at the controller um and we're going to do is press f2 cameras perspective if i am going quite fast here it's because i've kind of done this a million times in tutorials and um i know there's always someone new in each tutorial but um i apologize if i'm going too quick so what you kind of want to do is just punch this light up to a kind of um 3 4 degree angle up there and have it looking down and don't have your shadows too long out to the side but maybe something like this and then you can kind of start bringing this back close to home again and and we'll sort out the shadow in a second but this was generally all i did for the light um you can maybe bring it a little bit closer and if you add a octane camera tag here and just turn on your highlight compression and you can kind of see the difference here on this hotspot and which just kind of gets away with bringing the light a bit closer and giving us uh some punchier lighting and then the next thing that's this does fall under lighting uh funnily enough is if we drop in a plane um and we maybe do six thousand by six thousand it gives us a bit of breathing room um your plane is gonna affect it's gonna bounce light back up not so much if you're on direct lighting but on path tracing um it's going to take the light from the auction light that's coming down and it's going to go back up to the controller so that's lighting so if you just press f2 again there and um holding shift um hit this and then reselect your plane and holding oh hey this and under here you can just put in to 90 degrees and rotate it once that way rotate it again that way and then i'm just going to bring that back and bring up the side of it and um if you bring down the first parameter there you can just kind of get rid of that sharpness um although i am going to get a pretty tight turn here i think it looks better and that's going to kind of finish off our lighting put it in a nice spot uh of course we get the lights uh the light bouncing off every angle um which looks very nice so i'm just going to drop this down a little bit push it back a little bit and bring it up because i quite like that shadow i just don't want it too close and you can just rename this bg and group all these together and call it scene that was alt g to uh group the items um so you can keep grouping stuff here if you want to um so that was seen um so we're not probably really gonna dip back in here now i'm probably gonna um leave that for the lighting i i may have used a hdri but i don't really remember doing it so we're probably gonna stick with that and we'll maybe put on some bloom just a little bit and this is i think an okay position to start texturing and whatever way around you want to do it i think is fine because um i don't think neither can dictate neither but i just like having lighting in place before i start texturing one more thing i'm maybe gonna do is just push this light back because i was getting a little bit hot there um and you know what i will do is i'll just kind of show you if we duplicate that light and push it into this direction or in fact we go above the controller to just kind of show you different looks maybe we do come over to the left here behind the controller a little bit there's different looks you can take here whatever one suits you now you've got your light set up um do as you please with it um and if we wanted to add in a second camera here and maybe change this to 150 holding three and right click we can rotate here and i'm maybe just going to bring this light back and up till that shadow press w to get back to the normal axis and make sure that this shadow isn't coming too far up this handle um but yeah i'm just going to leave the the lighting like that now i may go into it and make cell tweaks but i will declare that the lighting segment and you can make a folder here and rename this cameras and and we're gonna take a second camera and call it edit third camera sorry and you can call the first one front and um we'll leave that one just it front two um and what we'll do with this camera is we will kind of just use this to maybe come to 50 millimeters and we can just use this to whip around for when we're looking at textures in the viewport and we can snap back to this to kind of see everything as a whole and as we go through a texturing process i will probably add different cameras and you hit that red dot to turn them off in the viewport i'll probably hit different uh create different cameras and to create different angles and close-ups and different things that i'm texturing um as as we go um as that's generally how it tends to work so if you see a reference board here and there's a good selection of um textures um that we can start with and we kind of have this and it's it's useful to look at all the different lighting situations because for example the difference in lighting between here and here is this one's really showing up the subtle kind of grip texture that's um along the front and this one's just having none of it so i think and neither is this uh this one either um so i think it's quite vital to kind of find your middle ground where you want to go and and we'll probably reuse some textures as well i would say um because as soon as you kind of get a bit further in you can you can do that but what i think i'll do is start off with the kind of um plastic glass type look on the on the outside of the um the buttons here and then maybe we'll move into the analog sticks um or or can i create some generic materials that we can share across specific um selection tags okay so if we come up close here and we add in a specular material we can just call this glass we come into our node editor what we're gonna do is we're gonna find i'm gonna clean this up a little bit d-pad okay cool so under the buttons here we have the selection tags to apply these so see it's my first selection tag on all of these and i'll probably rename them to glass but in fact i'll tell you what i'll do i'll make this easier on you i'm going to wipe the empty materials i'm going to rename all of these selections glass i'm going to apply it like this because this is probably similar to how you're applying it and uh i don't want it to be that much different because the other way i was applying it was very reminiscent of what i did which was wiping um the materials from the geometry i copied from the other scene uh man you're not doing that because you're not making a tutorial so um what we'll do next is come back into our material now and under the index just change this to 1.52 that's generally what you want for glass and in common you want to check on fake shadows and that's going to get the light punching through it and and one thing that you would notice on the reference board is that they weren't super reflective and they're a little bit rough so i'd maybe take your reflection and change this to about 0.5 and that's gonna bring down your overall kind of glass look you can maybe put your roughness um so 0.1 or 0.05 and to give it more of that plastic look um and that's probably um we want to go with for that and if we jump back to our front camera you can kind of see they look there and in our edit camera you can see the caustics um which is being caused by the small light being at a high power at a nice distance and is going to give you those caustics as well as just a well-modeled kind of um piece of geometry suitable for glass materials so those combinations together and you should get this kind of effect okay so what i think i'll do next is the kind of front body here um in our body i've got this controller body again i'm going to wipe those materials i've got a bunch of selection tags and i'm going to find the i'm going to call this one back i'm kind of going to rename them as we go through here that one's already renamed that one i'm going to call this body black so we're creating a material octane glossy material and we'll call this body black and we are just going to drop that onto the selection and we'll come into the material and i'm going to use an rgb spectrum into the diffuse and i'm going to make this maybe like a four percent black um and then we're going to come into our specular maybe 2.5 roughness while we're not really going to worry about that and i'll show you why so if you come up close you can see the material is looking okay just now and grab an octane noise um hit these two buttons and um drag this into the bump so you can see it looks all distorted and crazy right now and change the texture projection to box and you can maybe bring up your roughness just a little bit more and under your transform make sure lock aspect ratio is ticked and just scale this down down down down down down it's gonna look like a texture now it's gonna look like pretty much the way you want it to but you're just going to kind of keep pushing past till it's there but not as noticeable and then you can just holding ctrl duplicate that connect this up to the roughness you could even delete that one's transform and texture projection and hook up to the same ones so now you have kind of a mass controller for both of them but the only settings we're going to tweak are these settings so in the first noise the more we push up like there's kind of going to be like a little area in the middle here um inside this where the noise is going to be most prominent bring it all the way down it's not going to be there and if you bring the gamma all the way up it's not going to be there so usually i like to go somewhere near to the top of the gamma you can invert that and get a slightly different look if you want to and i think doing that and then maybe bringing down your octaves and your omega or bringing them up i think sometimes actually bringing them up and this kind of texture may look better and then what we can do here on the roughness noise it's just kind of the same thing and what now that's going to do is kind of speak with this noise and give us a nice kind of gloss that is predicated on this detail and not just on and not just kind of in a float value um instead it's kind of going to be doing a bit more intricate work to look cool so i'm going to make this a little bit smaller and i'm going to see how it looks at some different angles because i think that's sometimes the best way to troubleshoot a texture is if you're not completely sure about it just kind of give it some looks at different angles and i'm definitely not happy with this right now um so again i'm just going to make it smaller and i'm going to bring up the gam on the bump because i think there's too much of it right now but i also think it's too spaced out so i think there's too much of it but there's also too much area in between each bump so we're in that is to just kind of use the other end of the gamma we can maybe turn off this inverter now but if we use the other end of the gamma that wouldn't happen so much i'm going to get more of that texture that i wanted i'm going to maybe bring up her contrast a bit now because i think sometimes using the other end of the gamma is our contrast kind of gets hijacked a little bit um as it's already a bit too uh kind of sparsed out and stuff and i'm just going to do the same here i'm going to bring up the contrast again and that's definitely a look i'm happy with at distance this looks very nice um and very real i think the only thing i don't like about this is it's a little bit too matte and i think i'm maybe pushing to a slightly deeper black and i'm going to come down on the noise a little bit i'm going to come up on the gamma because i just kind of want this highlight around the edge of the ring here and i'll maybe come down on the omega on the roughness and i think if you come back to the front camera that's kind of more the look i want is this highlight around the kind of uh ring um so we'll leave that there for now and we'll just kind of swiftly move into the analog sticks and stay in this area so what i'm gonna do next is create a kind of universal glossy material that i can apply um to the logo here um and the kind of interior bands of the analog sticks so an easy way to do that is to just duplicate the material we have here we can call this gloss and if we find our analog stick and texture tags here so we can call this interior interior and call this okay so i don't have those totally separated so we're just gonna have to layer the materials and i'm not gonna spend time separating them so in this second material um you can just uh kind of actually um get rid of these for a second and uh bring down your roughness and we're just gonna apply those two tags so we can apply one and we can apply two and then what we're gonna do is get this to a place we like so this is quite a glossy material what i would suggest doing is maybe just putting the roughness noise in scaling it up a little bit bringing up your omega and octaves and bringing up your gamma to get a pretty glossy look or maybe your reflections are just a tiny little bit imperfect here and then what we can do is duplicate the body black again and call it analog and you're just going to apply this on top of the two or sorry behind them and that assures that your selection tag is still um working if this one updates that would be nice there we go so what we want to do here if you come back to our reference board here and you take a look at the the uh kind of analog stick texture let's also give you a better look at the kind of bumps we're going to do here um but and you can actually see on this kind of iteration it does look very flat but with what would be a noise covering just the kind of um bass line roughness and so if that's a look you prefer to the kind of more bumpy one that we've just went for uh kind of from this image then you can do that but what we're going to do now is concentrate on this and i'm pretty sure you can imagine what we're going to do for that and it's not going to take much tweaking to get here so what we're going to do is we're just going to kind of scale the noise up moving on this much and we can clear our roughness for a second maybe bring it up a little bit somewhere around point four you can maybe bring up your specular a little bit too in fact that's something we could do in the body black let's bring up that specular and you could probably get away with going for a little roughness i didn't realize that was so low um back here though in the analog i would bring your gamma up a little bit but i would bring up your octaves and bring up your omega to get quite a lot of detail in there you can maybe bring down the specular actually now and um maybe push quite a bit of contrast into that and now we'll bring the roughness back in and bring down the gamma again this is just tweaking i think maybe what i should do is play with more kind of controlled values so it's easier for you to follow along i'll still play with the sliders but then push them back to more solid values so you're not in any kind of state chaos um so you can kind of see if you bring that that gamma up too much it just looks like some sort of weird displacement map but i think somewhere around this is a nice medium 7.075 point two five and go to point eight on that and i think this is uh something good do control s there make sure it's saved and we can maybe push into an even deeper black on those can maybe come up again on the specular i think that's okay for these three what i would do though is just find your kind of interior ring here and we'll put the gloss material on that and then if we come back to our front camera i'm gonna see things are shaping up now it's beginning to look like a playstation 5 controller awesome i didn't realize that was messed up so i will fix that awesome okay so we have the kind of body textured now before we move into adding the bump map to um the white parts and doing the back plate i'm just going to kind of work on the interior to the buttons the triggers and um we'll top off this logo too so for the logo just now what you can do and is if we just find that we'll just um drag that gloss material on there and uh we'll do the same for that can outline bit um and then that's there and we don't really have to think about it i did actually change that to a meter metallic material and later on but we won't worry about that right now what i'm going to texture next very quickly is the inside of the buttons now we do want our own material for that so if we duplicate the gloss we call this buttons and that's mainly the reason we don't want to just share a material there um is because if you do decide to mess with your own colors of the controller or change the color later on like i did and when i changed it to black you don't want to um have to then separate everything if it's separated now it will save you all the time so it's our third selection tag so we're just going to start applying now one thing you may notice about the kind of interior to the buttons is that they're not completely black they're kind of gray um and they're definitely quite rough so what we want to do is just come into our node editor and um we'll turn off that roughness we won't really worry about any roughness um or any noises or anything we delete that over there and we'll bring up a roughness and we'll bring up our rgb spectrum to a slightly lighter gray maybe a bit more somewhere up here i think is a good representation of the way the buttons look okay so now the buttons are done i am going to uh do the triggers so we'll do the triggers all right so we're gonna hit f2 and just drop out there and close up these and um in fact no i will come back to this edit camera and um i mentioned earlier on that we may create different cameras so i'm gonna do that so i'm gonna branch off the edit one i'm gonna call this analog because i kind of like this camera angle um it's a nice looking angle so we'll come back to edit now um now that that angle is preserved um maybe drop back our focal length is something more akin to editing and we'll just focus on these triggers now if you look at the reference board you would see that we have glossier on the edge and then that kind of similar analog material but a little more plastic and less rubber on top so if we see the triggers here it's the left trigger and delete our materials and with the glossy on the sides so we can use this glossy material and then what we can do is duplicate body black and put that underneath this material on each of them and now you have the deviation now the noise is a bit bigger and more visible on these so what we want to do is come into the um we'll call this trigger um and what we want to do is just kind of scale this up on the transform um so we can kind of see what's going on you can see kind of the fidelity of everything a bit more in there and the bump noise you may want to turn down the omega for this one or turn up the octaves but kind of meet the omega with it a little bit in fact i think turning it up um maybe a better way to go um i think now what we need to do is concentrate on the roughness so if we look at the contrast here um we want this more on the glossy side um as opposed to the rough side of things so yeah something a bit more like this um i'm just gonna play with the contrast there make it even a bit bigger okay yeah so i think maybe 0.55 on the omega 6 on the octaves we'll do 0.45 we'll do 0.08 and i think that is a pretty good setting there we can do 0.45 here that's 0.55 and we can do 2 and 0.6 and i think that looks pretty reminiscent of how the triggers looked come back to a wider angle you can see that looks quite good do control s save that have a look from the front looks good and now what we can do is i will just apply a material to [Music] these kind of accents here and i'll just do body black on those and now everything's kind of coming together a little bit to control s again and we'll close up the triggers and we'll move on to um what will be kind of the the final body textures before we do any um cleanups um and refinements but we will take a look at um applying the noise on the front grips the back grips and the touch pad here and then um i won't really go over what things i want to refine just yet but it's just going to kind of revolve at these logos here and maybe some camera angles too okay so we're just going to finish up the texturing now so we're going to dive into these white materials so we can open open up our node editor and uh just pop in a new material we can call this white front and we can apply this to our main kind of body segment here so if you call this body front and we drag this on there and uh come into our edit camera just come around this side somewhere we can see this might just pop up our exposure a little bit for this angle and this roughness here that's too much so i'm just gonna come in here and turn this down to i don't know maybe 0.2 it's just a little bit too much for my liking or even 0.1 okay so in our white material shouldn't it close in the node here going straight back in it um just like usual dropping octane noise um i wouldn't really worry about the roughness here maybe add a modest amount but we'll keep it under the float kind of value um if you need to access that easier we can just keep it like that something like this um we're just going to concentrate in the bump i don't think it's really worth going into the uh glossiness of this we're not really going to be able to see it and if we lean into it too much you might just get unwanted fireflies um so if we make this box and um we bring down the scale tons and tons and tons yeah so maybe do point zero one on the scale i'm going to pop in a bit closer on my camera maybe come up to this angle and 1080p oh this is 720 actually i haven't even changed the um aspect ratio yet um what we're going to do is we're going to come up to the gamma and we're going to come up to the side that i wasn't really going for before and bring down the octaves in omega and then you want to want you want a much more simplistic noise for this kind of grip um you can even push it a little bit further um and and you know it's really not going to take much work to achieve this look um if you look down at the bottom here i think the reason we don't want that is it just adds a i mean we could stay down here and hit it with some contrast instead but then it looks more like your grip is going inwards um so yeah i think it's better to stay up here um i'm going to stay for that more spare spaced out look um so have a couple different takes on this and see how it looks so at distance it comes together um you don't want to look too closely at this uh i mean the up close look um is maybe something you might want to go for but um it's extremely quick to achieve this result so i think you know looking at these angles now the whole kind of setup is coming together quite nicely um but what we will do is add a second white material and what we're going to do in this white material is we're gonna bring our bump way up and now what we're gonna apply to this uh what we're gonna apply this one too is kind of these buttons and the insides of the um main kind of buttons and arrows and stuff as well um because we don't actually have a texture on that yet um so if we look in the d-pad and uh you see this white bit here um isn't showing up but if we apply the material to it you see it gets a little bit brighter so i'm just gonna do that okay so that's them applied and you know you don't the reason we create a second material for that is because if you're a close-up like this and this actually happened to me on my first renders i'm gonna pop down the whole pixel here to about 0.7 just to clear up some of this noise and on my first renders i was like looking at a camera angle like this and i was seeing all this grip underneath the glass here and i was like oh that doesn't look good so um it's just precautionary to take that extra step to make sure that doesn't happen and um i think you probably don't really need it in these buttons too i haven't looked up close as to whether they do or not but my best guess is that you you probably wouldn't need it um so we can maybe set up a camera angle here now then call this buttons maybe do something super zoomed in come back out a bit get a nice angle like that it's showing off all our different textures and um if it was quick for me to do it i would unplug all the different noises and just leave the play materials so you could see the kind of sheer quality that our textures are bringing us and because at first sight it can be like wow that's a really high fidelity render but not understanding all the little detail that's uh hitting your eye when you're looking at it um so what we'll do now is we'll do this back plate and i'll show you how i made that so if we come up to the top here and create a secret another separate weight material and we call this white back and we clear the noise and uh leave that float in there adding a image texture now i will leave this texture on the reference board don't worry i won't include this in the um project files i mean it will be in there if you want it but i'm not going to make you pay for this since um i'm not going to make you pay for this since it's such a integral part of this look and and making sure your render looks good here so um don't worry about that but it will be in there if you do want to purchase the files um so now what we can do is uh we'll just change that to box but we'll come to our body uh controller body and we'll find this back plate um here and we'll apply it to it you can see now we've got these massive buttons what we want to do is just scale them way down something super super small um way smaller than this and you want to make sure this is a selected the wrong one i'll make sure i upload the right one but i selected the the wrong one so we want the the black with the white um it's easy enough to just invert and get the right way around but i think the scale is okay i think i may have made it a bit too small in my initial renders um i think this scale actually suits a little bit better if we come back to this buttons angle um or in fact we'll stay in the edit um i'm gonna duplicate it though when we have a look here around to the side i think there's actually a bit too much shadow here but if we maybe get a look from the top change this to maybe 120. you can definitely see the difference and it looks quite cool there's even this bit um it may even be a bit bigger on the real controllers it's definitely a bit thicker um but i wouldn't really overthink this part of it again it's a excruciatingly small detail and it's great to have it um so that's that you can see around it from the front here i actually want the background to be a bit more white this is a little bit flat looking right now a good way to do that is just and most fronts bring it closer to the geometry um geometry being the controller and we'll bring the light a bit closer and maybe bring her in this head in fact we won't so we want those caustics so maybe bring it forward so yeah i just wanted the background to be a little bit whiter you can always start playing with your exposure and camo if you get a bit lazy with it uh it's always a quick go around but um i guess it's best to keep these things at their base values um so the last of the texturing we'll do before we do any cleanups is i will add this led in here to kind of finish it off and we'll maybe sort out the logo um and any things i think need fixed and then what i'll do is i'm just going to show you some directions you could take this render we'll do a couple takes on the black look as well um so you can switch between them and i'll show you just some cool product angles that you can use this kind of that you can use for uh this kind of render okay so i mentioned earlier that it was only in um 12 ap so i'm just gonna um or should i go square um i mean i'll stay white screen for now all right so i'm just gonna put this to 1920x1080 so i'm just feeling a little bit blurry here and i am on a 2k monitor uh it's just kind of good to get rid of that a little bit and hopefully it will help you um can you see things a little bit better um after all the youtube compression i should have considered that a little bit earlier on um so what we're going to do now is create uh the led material uh so you can create a fuse for that we can rename it led and just drop in a blackbody emission and if we just find that texture okay so is this one um call this led we come to the edit camera um and we grab that selection just gonna see it's this very thin bar on the inside there so if you've done your own model or if you have a model that doesn't have one so you can kind of see what's the best way to do that you would think it was all the way around it doesn't it's just these two little bars there um which i think is a really good approach for it uh so we'll just hook up this black body emission and we'll grab our rgb spectrum so we'll drag that on there you can see now we'll be coming to the sides now you're going to be noticing it's going to be really noisy now that's because with black bodies they need to have the same sampling rate that your other black bodies do so if we set the sampling rate of this main light to 248 come to blackbody emission two four eight and you're gonna notice it's gonna be resolving much quicker now so there's an easy work around for that and we're going to put an rgb spectrum into this here and um we're going to check surface brightness we're going to set the brightness to about 150 now in the rgb spectrum kind of want to push somewhere around 210 on the h we can just go 100 and 100 and you're probably gonna have to push or experiment with this a little bit to push kind of into the blue you want maybe 226 or something i like a bit more and black bodies can get a little bit difficult with blue sometimes and they can lean into purple but usually with enough samples and rendering time they figured themselves out um and i i kind of want the effect i had on my original renders um which was i had the leds kind of blasting down here onto that curve um so you can just kind of pump up your power till you're getting that and if you need to um just check off surface brightness make it go a little bit crazier if you come into the front and get a look at this you can just see how nuts this looks right now with all the kind of purple fireflies so i'm going to work around that by adding in a bit more of a um a white kind of hot spot to the light i'm gonna see what's that gonna do is it's gonna kind of let and stop trying to put so much um saturation into the black body and you're just gonna kind of get a bit of a nicer look coming out of it and then we can kind of move maybe back to that deeper blue and hopefully the issue should be fixed now i'm gonna see your surface brightness looks it's looking a bit too weak so i'm just gonna keep it off and stay maybe around 150 but i'm going to bring the sampling rate up to about 6 000 and i'm going to bring it up to about 6000 here too just to give it a bit more clearance in the way um that they kind of talk to each other so now for kind of some things i want to clean up i'm going to create a simple octane metallic texture and i'm just going to call this metal and down on the logo um this material here i'm just gonna over uh overwrite that and um keep this metallic material and in the metallic material i'm going to drop down our specular to like point four maybe bring up the roughness a little bit just keep chopping down the specular really it's an easy way to get black metal if not just switch it to ior plus color but i like this because well you have control over it and then we get this nice and look here and then i'm going to come into the edit camera and under this bottom bit this is like a plastic in real life um so i'm gonna grab that selection and i'm gonna press space using middle mouse click i'm to expand on this and holding control i'm going to click let me give it bigger holding control i'm going to click over the logo and deselect it i'm going to make sure only select visible elements is off so i'll redo that so you can see and get rid of it like that so now we're left with this and then i'm gonna make sure we're not on any of the selection tags i'm gonna go select set selection and i'm guessing this is some kind of light i'm just going to call it light and then we can duplicate this or in fact let's actually just try the glass material before we make a new one let me try that one there yeah let's make a new one so we call this light let me apply that and i'm just going to bring up the roughness quite a bit to maybe like 0.2 think that looks cool um now another thing is the sony logo at the back here i may be inclined to uv this on to the geometry and there's also a little microphone sign which can be seen on some of the controllers [Music] so you know whether you want to uv those things on i'm not going to do it here but um oh so one more thing as well is uh we've kind of got this i'm going to shift click there yes it was under the body we've got this charging port which shouldn't be on the analog ring selection um so i'm gonna make this bigger let's get rid of those with the same settings in the live selection we had before deselect any of them and set selection and call it charger call this charger too and we'll just put the metal material on both of those slice that sword out and um this is where we might want the surface brightness back because at those angles having that sort of beam is not always that nice um but you can always change it between the angles okay so we come back to the front here everything's kind of in a place that i like now um so that's the i would say that's all the texturing done and at this point it's i think you need to come back to um your lighting and your cameras and setting up angles that you like and playing with them and um we'll we'll create a separate take and kind of flick some of these to black as well and so we have both variations so what we'll do is uh create a couple different cameras so this camera was the top yeah can maybe zoom this out this is a nice angle maybe bring it in a little bit got this top now an angle i did like is if you duplicate the front really zoom in here to like a super telly that was cool alone but i liked kind of doing like half the controller like this i'm going to come back a bit i thought that was a super cool angle for the white view you really just get yeah i think that looks really cool should call that front half um and um there was this one other angle i really liked if we come back here to like 80. you come out wide here and down and kind of look up at it maybe turn slightly and you can see here we're like reaching the edge of that i need to get away an easy get around of course it's just that make that much wider and i think i'm actually going to push the light back a bit more to cover that and i'm going to come back to that led and definitely um keep surface brightness on because it just gets a little bit much really um you can maybe just keep pumping up that power until you get to something that matches it but without that nasty just kind of overriding led because it doesn't look good like that and i think yeah i would uh just bring this back closer again to make sure the lights kind of retaining itself i just don't really like this taper off the darkness at the side so what we'll do is we'll drop in a hdri to fill that fill that in so i'm just gonna call that one hdri and call that one sky and i've dropped in um a simple studio hdri here and pop that above the sky and you can see this is really adding to the scene a lot now i should have done this at the beginning um so i couldn't actually remember if i used one or not she'd bring down the power quite a bit to maybe like 0.3 and um give it some rotations and um yeah so i definitely did do that because i don't remember my shadows being as dark as they were because i had some angles kind of at the side and stuff here so uh yeah dropping in a hdri is definitely um what i did uh and that really just gives you that uh puffy white that i really really liked um so if you come back to this camera angle we're setting up no that's not too similar to this is it no yeah because i had a couple of those um so i just really wanted this to be like super wide out from the controller um and giving it quite a bit uh quite a bit of breathing room on its own um i thought that was really cool so you got the front three and um i'm gonna duplicate that and uh another angle i used was in fact just before we move on from it maybe zoom in a bit and bring it back yeah yeah that looks awesome love that looks so cool um that is going to look so cool in the in the black um so if you just come back to that angle again there was this really nice angle that i liked that i did um where i came in like this and i just looked at the side of the buttons i thought that angle is awesome it's kind of like this yeah or something like that i thought it was really cool again just trying to avoid the dark areas but yeah it was something like this on the edge and call it sideburns i mean this is all just ideas you may have some awesome ideas of um things you want want to do with it um i think i had like some close-ups here but i've already got a couple of those um i did a coupled usually in product renders you'd want to do like a center over here so in fact we'll just do those if we zero out all these rotations we do like a center you call this you can duplicate this call this button cam and just like bring it over in the x parameter and then you could duplicate it again and call it top and if you take the p rotation you just do like minus 90. we're not even in the camera yet and uh you do zero on the x 0 in the z and then just climb up um apparently we're really far away from the controller so get back there and then you probably want it the other way around so switch that to 180 and go super cool angle from above the controller that looks really cool i really like that one um so these were all angles um i did uh i didn't i haven't rendered out all of them yet so i'll make sure i get them all rendered um it was a super cool angle as well so i think i will leave that um for the camera angles i could always uh group these call these front and mark that red just so we know it's the edit camera um now what we'll do is create a separate take and switch this to black because um that's gonna be awesome so if you come up here to your takes tab make sure the project is safe just create two takes double tap this button call this first one white and that's what we've been working in the whole time let me call this one black we'll stay in the second take and we'll enable this auto take now what we can do is take all our white materials and we can just shift them all to black and it will be that simple so if we maybe go to like six percent maybe a bit higher and i'll um bring down the roughness in a second on those contour white [Music] seven yeah it looks awesome and then we take the back it's like six percent again i'm gonna go to that uh front three looks awesome so in this material the white front i um want that a little bit more glossy for this one actually so just bring down that roughness oh that was that was diffuse my bad my bad that whole time we had a diffuse on the front that's crazy oh and make sure to put a note in so you didn't do the same thing uh yes that looks super cool that looks awesome maybe just bring up that i think actually what we could do now [Music] because on the black we probably do want to play with the noise maybe bring that down and get some nice little sparkles going awesome yeah i love that that just looks so cool i love it that looks awesome yeah can't go wrong can't go wrong i'll just look a bit further awesome see that looks from the front nice that looks really cool and um you can see in our takes here if we smack this we're back to the white um but on the way front i'm just gonna make sure on the white sorry it's glossy um i don't want to make that same mistake and glossy awesome let's see those look and we'll flick between these store any buffer come back front three so now we have the black and the white that's super cool i love that i think i like the black much more it's so strange like i remember when the xbox one came out and the ps4 came out and i mean i even remember when the 360 and the ps3 came out and all i ever wanted for the 360 was a black controller because the default was white and the xbox one came out and default was black all i wanted was a white controller and then i got a ps4 and all i wanted was a white controller and i haven't got ps5 yet but i'm pretty sure that all i want is a black controller it's like you always want the one they don't make it it's super weird but um i think i'm going to conclude the tutorial there on the uh look at the the black um because i think it looks super clean and super awesome um and the advantage of using that gray on the eggs as well is that on the bonds is a we don't really have to change i think you could probably get away with changing this and then applying the gray that we used here onto those bits so they're kind of white um because of course you can't really see them right now uh so yeah i think this looks super cool i mean we should maybe take a look at this on the black background what material could i throw one there just want to have a material in the background right now we should put one on there to um throw up the maybe that's why the background was feeling a bit weak at times because if you don't put a material on it's always going to here it's just like brightened up a bit it's always going to look a little bit um darker than you than you'd want it to maybe yeah yeah so i did all that stuff with the lights for nothing um i'll maybe try to put a note in for that too um but let's why we're on the black take let's see how this looks oh yeah area i mean sometimes your shadows can get a little bit weird looking when you um they're like ever so slightly filled in i sometimes kind of feel like bring on the roughness and bring down the specular sometimes going to feel like uh you want to go into a really really really deep black um to the point it's just like i mean even if we go to zero percent you're just kind of getting the controller in darkness sometimes it just looks a bit better but this gray looks cool that looks super cool i think i like the gray on the white more though maybe you'd want to go black and white and then come into the white and do we need to rename this again a mistake you would probably want to make new materials up in this take here in the main don't do what i'm doing so i'm doing it messy and then do the white on the black like that yeah let's have it reversed looks super cool anyway i will end the tutorial there thanks for sticking in there with this one i know it was quite long and probably quite tedious in parts a lot of just dragging textures on and messing with stuff but i wanted you to kind of see my natural workflow a little bit and kind of how i i just work and create this render from scratch and you've seen me take this model and turn it into something um that you could use uh i would say if you followed this and managed to get a very similar result you are on the level of creating professional product renders and if you can reapply that to different products and create yourself a an appealing portfolio of work you're you're going to be flooded with freelance work in no time because you're going to be solving problems for people and i'm going to try and touch on that more in future tutorials but i i would definitely suggest to just try and reapply this to different products because i'm kind of getting in the nitty-gritty of things and just separating the textures and uh being simple with the lights is what's responsible for this here this was um there was no special sauce here it was quite simple and if you've stuck through the whole thing then um i congratulate you um you can rest now uh be sure to send me these renders i'm excited to see how they look um play with it have fun with it do some cool animations um i could think of planning animations so let me know if you'd like to see a tutorial on that i might even do some myself for fun and i could come up with some cool and i recently did a project actually where i was messing around with the uh the the brand colors i had three brown colors to work with really playing with the brown colors and and re-rendering the same shot in each well i wasn't re-rendering it i was i was just keying it in after effects um to save a bit of time with an object id but uh you could definitely do that to you know use the same camera angle and have it flipping back and forth between the white and the black would be super cool so maybe i'll do that for a bit fun posted on my instagram um but anyhow thanks for watching check out the project files check out my other tutorials and appreciate you staying till the end of this one and i'll see you soon for another tutorial bye [Music] you

Channel: Sketchy Visuals.

Views: 8,716

Rating: 4.9588475 out of 5

Keywords: Cinema 4D Tutorial - Create Advanced PS5 Controller Renders Using Octane, cinema 4d tutorial, cinema 4d ps5 tutorial, cinema 4d ps5 controller, cinema 4d controller tutorial, cinema 4d octane tutorial ps5 controller, cinema 4d octane ps5 controller, cinema 4d tutorial advanced, c4d tutorial, octane ps5 tutorial, controller tutorial cinema 4d octane, ps5, cinema, 4d, octane, render, product render, controller, ps5 controller, octane tutorial, sketchy visuals, cinema 4d s24, s24

Id: R7bdG0eocHw

Length: 71min 4sec (4264 seconds)

Published: Wed Apr 14 2021