Cinema 4D Tutorial - Create Balloons Using Cloth Dynamics

hey everybody it's EJ from IU's I'm calm and today we are going to create some fun mylar balloons in cinema 4d using cloth and vertex maps let's learn how all right so here are our little mylar balloons you could be making some balloons today and it's a fairly straightforward process and I'm just going to take you through all the things to kind of understand about how I created these and how you can go off and make your own nice little balloons so let's start a whole new scene and the technique that I use is by using an extrude object so whatever you want to turn into a balloon so if you want to make a circular balloon what we're going to do is we're going to create a circle spline and then what we're going to do is extrude that circle spline by placing the circle underneath the extrude and we want to make the extrude object fairly thick and the next thing I want to do is for this to turn into like a nice smooth piece of geometry we need to go in or garag shading and you're going to see that we have no subdivisions on the the front or the back of our extrude so to be able to introduce some geometry because what we're going to altom utley be doing is kind of deforming this and kind of shrink-wrapping sucking the edges of this object and creating those nice little seams on the edges to create our little mylar balloon we need enough geometry so that when the deformation happens it's nice and smooth so there's two important or actually three important steps to be able to prepare this extrude for use with this mylar balloon technique the first being on the circle spline we want to change the intermediate points from adaptive to subdivision subdivided and the reason for that is we can actually control the subdivision by length so you can see that as I bring this down there's a subdivision every 54 centimeters if I bring this way down there will be a subdivision every 4 centimeters so the reason for this is we have nice even subdivisions across our object so you can make it as dense as you want I'm actually going to cover how this mylar balloon works will effects different types of meshes whether it's dense or it's light so important thing to remember we chose 8 as the maximum length here so what we need to do to create geometry that matches the site geometry as far as subdivisions is by going in the extrude objects cap and the first thing we need to do is just so this this is treated as an entire fused object meaning the caps are fused with the extrude edge here we need to turn on create single object now if you have an older version of cinema 4d that does not have this I believe this was introduced in R 16 you simply have to go up and grab a connect object and just throw your connect object throw your extrude object under your connect object kind of the same thing but with R 16 and above this is our kind of like baked in connect object alright so to get the subdivisions on the front cap in the back cap here we need to change the type of cap subdivision from n-gons to quadrangles and then what we need to do is check on this regular grid and what you're going to notice is that now we have this really nice grid subdivision on our caps so front and back caps and we can actually have it try to match the subdivision or the maximum length subdivision on our circle object which is 8 centimeters by just placing 8 in the width and you can see that it kind of tries to match up to the subdivision on the extrusion sides here so now we have our nice subdivision here and what I'm actually going to do I'm just going to call this circle balloon and what I'm going to do is duplicate this and hide it because I want to demonstrate something later and since we have this set up already I don't want to have to redo this all over again so just making a backup so what I want to do now is make this editable by hitting the C key so C makes that editable it creates the H turns the shoot object into just polygons and then what I'm going to do is the technique I'm going to use is actually using the cloth module with a cloth engine so I'm going to apply a cloth tag onto my circle balloon object and the only tab we really need to worry about is this dresser now what we're going to use is actually something that's typically used for like character's clothes and stuff like that basically it melds the front in the back of a piece of geometry using a seam and then kind of stitches those sides together so our seam is going to be this extrude bit so I'm going to go ahead and select them all by choosing you and then our shortcut key for loop selection is L so u L and now I can since I'm in polygon mode I can just select those side polygons here and then what we're going to do is say set seam poly so these are going to be the seams of our balloon and once you set that the only thing you need to do next and this is actually kind of fun I love doing this every time and it's called a very fun name it's called the dress o matic and let me just press the button and you can see what it does for yourself so I'm going to hit the button and you're going to see that just sucks in everything it's almost like a vacuum seals those edges together and you can see we have this really nice a kind of mylar balloon edge or almost like a throw pillow or something like that but in our case we're going to try to tweak this so we can actually get a really nice balloon looking effects we've got these really nice creases and stuff like that and there's two settings in the dress o matic and the nice thing about this is we can tweak these settings and then just hit tres o matic again it will actually redo that address o matic Russell medic simulation so like I have to say that every single time so what we're going to do is just go over these two options so steps is basically how many steps the simulation keeps going so if I it will straight this by putting a step of just one you're going to see that when I hit dress o matic dress automatic nothing happens really because we don't have enough steps when I do five and hit it you can see that we have the simulation we have the dress o matic thing happening but the deformation isn't as pronounced because it hasn't fully like stitch those seams together because it's only five steps so how like running a simulation over a number of frames if you just run a simulation over five frames you won't see much of a difference versus like if you've run a dynamic simulation or cloth body simulation over 30 frames because there's a lot more a lot more space and time for that simulation to take effect so you can see that I can keep playing around with this and if I crank this up very high you can see that the simulation runs for a very long time we have way more deformation so this is great for Chloe kind of things but that's way too many steps for just a tight mylar balloon that we want so they only need a little bit of simulation for that to happen you're going to notice that our seam here is fairly wide and that seam is controlled by this width so if I change this width to thirty and hit the dress o matic you're going to see that stitch together our seam gap is thirty centimeters wide so for something like this we'll probably want to do something very low for a seam so something like two you can see that's a really nice seam let's try four and again the nice thing about this is you can keep messing around with these settings and just keep hitting that dress automatic but and just have just kind of see what what happened and see what looks good and I think that's looking pretty good now what I want to do now is save this cloth simulation or save this little dress automatic simulation so what I'm going to do is to kind of store that I'm going to say set initial States and then what I can do is actually just delete that cloth tag because we don't need anymore we got the nice simulation we want and there's our nice balloon geometry you can see that it's kind of chunky at this point but what we can do to smooth everything I'll just twice that under a subdivision surface now we've got nice smooth edges you can see we got this really nice fold increases along the edge here and again if we didn't have our original balloon let me just turn on this what's going on here there we go if I just turn on this circle you can see what happened number one our object kind of shrunk and had the theme stitched together so you can see that a lot of this is depending on how big your object is and how how much depth there is on your extrude if the extrude was very small it wouldn't look like this is kind of filled up with air so you need to have enough depth so it doesn't look like a flat whoopee cushion or something like that right so what I want to do is demonstrate the difference between a highly subdivided surface and then running that dress o matic cloth simulation and the high so this is the this is like our high subdivision you can see how dense that mesh is even if I turn off the subdivision surface what I'm going to do is just show you the difference between highly subdivided and maybe less subdivided so to do that I'm just going to go ahead and increase the width on my quadrangle caps on my extrude object and then again let's just do 20 so I like nice even numbers and then remember we need to match that number in this maximum length so from 8 to 20 and you can see how much bigger our little polygons are and then what we can do is let me just duplicate this turn this off and then again just make this editable C to hit make it editable and now we can go ahead this is like basically the workflow is just go to your cloth tag we need to select our seams so you L loop selection and then we're going to go and set these seam Poly's you can see that we have all these little yellow X's so we know that's working and then the dress o matic and then you can see let me just bring down the seam widths there you can see the difference between a higher subdivided balloon and a lower subdivide if I place this more HUD less dense mesh in a subdivision surface and actually let me go ahead and just set initial State sometimes when you mess around with stuff that'll actually reset the cloth simulation so I'm gonna set initial State let me just delete that tags they don't mean anymore and basically when I turn off the lines you can see the difference between highly subdivided getting more of these nice little seams and less subdivided getting less of these things way more bigger Distortion so just kind of keep that in mind when messing around with creating your own balloons that subdivision matters right alright so let me just go ahead and delete that ugly balloon I like this one much better and let's just go ahead and keep tweaking this what I want to do first is since I have my little seam selected already I'm just going to make those little like edge flaps on balloons we have those little seam edges so what I'm going to do is extrude a little bit and what I'm going to do to do that is hit the M key to bring up our modeling shortcut tools and then T is our extrude so I'll hit T and I'll just threw this out a little bit going to see that some of these edges are kind of going different angle uh way so what I'm going to do is up this maximum angle here you can kind of see what's going on we got this nice little flap and what's actually let me undo that let's just see what uh what a bevel does so I'm going to hit em and then our bevel shortcut is s and we'll see how that looks yeah doesn't my collection actually so I just create up this max angle here so you can see the stuffs kind of forwarding weird let's see how this looks from far away actually that doesn't look too too bad you can see what I'm going for as far as that seam and what's actually just a justice offset just a little bit sujin out a little bit more we just want a slight thing we can just barely notice and I think that looks pretty good maybe an offset or a extrusion of 3.5 cool I think I think I'm digging that so that looks good we just create our little a little theme guy here by using some by doing a bevel on those selected edges and now let's texture this guy so I'm just going to double click on our material manager here and for a nice like mylar balloon texture I'm basically going to go into this color Channel and just turn it off and what I'm going to do is first apply this material tour object and what I'm going to do is just add a Beckmann reflection and you can see that if I render this you're not going to see anything because I need something in the scene to reflect it and what I'm going to do for that is just use the grayscale gorilla hgri studio just going to add that to my scene so that's going to load up an HDR eye and we're going to go to the floor control to just say turn off floor turn off background and let's just go and open this browser and choose some kind of interesting environment here so I'll choose this convention center window hgri and let's hit render you can see we got some really nice reflections going on in our mylar balloon so again reflections and HDR s make this mylar balloon texture really sing so let's just go into interactive render region here so I can mess around with this and you guys can see exactly what's happening so the thing with reflection super highly reflective surfaces is we need to introduce color in the reflection with this layer color so if I want a blue balloon just going to go in here and choose like this teal and you can see that in our balloon blue and I can really crank up this color and you can really get a sense of what's going on there we can add maybe a little bit of roughness there too so it's a little bit blurred something like that and if we want maybe a darker blue here you do something like that you don't want too too much bright color because it's really hard to get that kind of really super bright reflection in reality so let's just put a mess amount of brightness here another thing I like to do is go and just turn on a global illumination and change our renderer from standard of physical so we have more physically accurate rendering and reflections and what I'm going to do just for the sake of this tutorial is we got these handy defaults in our global illumination I'm just going to go to interior preview and just turn off our secondary method to none so right really what I'm just doing is just making this GI calculation this global illumination calculation as quick as it possibly can be and let's just leave me brighten this up by upping the gamma for the gamma kind of brightens up our global illumination and that's looking pretty good I'm diggin that we got a really nice reflection what I'm going to do is go and just bring this reflection layer below go to my default specular and what I want to do for this is just create like a wide specular or something like this I'm going to go Phung so it's a little bit sharper then just bring this down and what I can do is introduce some of that blue hue into our specular so it's just a little bit of a difference just a little bit because mylar balloons do have a little bit of specular action going on which probably see this a lot better if I just add like an area light into the scene and just go like this bring it up here so we got a nice like kind of a specular happening there let's go ahead turn on fall-off OOP and just getting this texture nice and lit cool so let me actually make sure we got it additive so we have our specular added on top of our reflection and looking nice you bring this up a little bit alright cool so you can see just how just a little bit of roughness kind of helps a lot and I can actually go mah dri steel rig here and just blue blur out that reflect texture and you can see that makes a huge difference as well the one thing I've noticed with my book mylar balloons is that it's kind of hard to pick up colors from the refract reflected environment in them so for any HDR that you're using I would just bring down that saturation so if you're using an image or something like that you might want to mess around with the saturation on that image and maybe even the contrast to get more deeper black and more brighter bits like that so maybe just a little bit of contrast there so I think that's looking good the only thing I see on this mylar balloon to up the up the sexiness of this mylar balloon is getting those nice little small creases on the edges of our object and this is actually fairly easy to do what we're going to be doing is using vertex map now vertex maps are basically like like an alpha like painting an alpha Channel or something basically painting polygons that you can use as a selection and the nice thing about vertex max is you can actually smooth out a polygon selection so again I have selected the little theme bits here that I beveled and what I'm going to do is actually grow that selection and again I'm going to bring my handy-dandy shortcut key which is you and you can see all the way at the bottom why for gross election and what that's going to do so if I hit Y lets going to grow the selection and select the polygons that are perpendicular or connected to it so I can do that again you Y you see I grew the selection again to the surrounding polygons of that initial selection and let's just do that one more time because those are the maybe let's all go and do that let's just start with this so let's go ahead and I have these selected what I want to do is create a vertex map out of that selection so to do that go to the Select menu and we're going to say set vertex weight and for this it's set to zero and what I want to do is say set this to 100% so this is a full blown 100% selection and I'll just hit OK and let me just turn off the garage or the the lines here so you can see what happened so this selection all these polygons I selected have turned yellow yellow means this is selected everything in red means that if you apply any kind of effect to it it will not be affected only everything in yellow can be affected you can see that we have this nice little gradient of this blurring between these two which is really nice because for the effect that I'm going to want I want to have some wrinkles kind of start from this edge and then tell taper off and fade away so basically I want to do a noise texture apply a noise texture and control exactly where those where that noise is so what I can do to kind of blur this out which is really nice first going to turn off my subdivision surface here I'm going to double click on my weight tag here you'll see that my vertex map got created once I set that vertex weight so I can double click on this little tag here and it's going to bring up some and this is basically a being able to control our vertex map you can see as I as I hover over it's actually giving me a paintbrush so I can actually add to my selection and paint on there which I'm not gay I'm going to just going to undo that for now but what I want to do is smooth out this gradation you see it's kind of choppy right so we can just change the mode from add which is adding to our vertex map selection and we can just do smooth and I can just apply all I don't want to apply selected but apply all and just go smooth everything out and you can see that that's smoothing a little bit every time because the strengths only get 25% you can see that just blurred out our selection a little bit more and let's just do that a few more times and I think that's looking good so now we can actually use this vertex map to control some noise that is introduced down to our texture so let's go ahead and do that so I'm going to go into my mylar balloon texture and in the bump channel I'm going to create some noise so let's go ahead and create some noise bring the noise and we're just going to bring the global scale down we're going to up the relative scale on the Y so it's a nice loooong kind of looks like wrinkles and for the noise type let's just do dents and you can see as I render that let me actually just wait looks really ugly right now but we're still tweaking let me just turn on turn off global illumination just so we can render faster and I'll turn on interactive render region here what I want to do is change the space of the noise from texture to UV to D and what that's going to do is apply the noise on a different basis it's not going to rely on the actual texture it's going to rely on the UV in in 2d space which is nice is a little bit more predictable and then what I'm going to do is just bring the global scale down a little bit so you can kind of see what's happening here we're getting some nice wrinkles but again it's all over our object and number one it's number two it's facing the wrong direction it's going down we actually want all of our wrinkles to be going in the direction along our seam so what we need to do we need to go to our texture tab let's select our object select the texture tag and we need to actually change the projection from UVW mapping to a spherical we're going to choose spherical and you're going to see some weird stuff happen and what we need to do so we can actually adjust this material as we would adjust a object in our scene like hitting our and rotating and stuff like that want to do the same thing with this texture now how it's matte spherically and to do that I just need to go up to my texture mode you can see we have a sphere represented and our scene and what I want to do is move this and scale up you can see that when I'm trying to move this it's actually not moving that axis is not moving to actually adjust the axis of a material we need to go and enable axis modification and now we can go and adjust this so you can see that as I bring this fear more to the center of my object and you can kind of see what's happening there I can scale this up I can scale it vertically horizontally and Z which is really nice and go and do that but what I can do is actually rotate this by hitting R and that will bring up the rotation bands and what I'm going to do is rotate it 90 degrees and you can see what happened there now our wrinkles are kind of coming from the edges and trying to go in the inside there like it's pulling the outsides inward this is exactly what we want but again we don't want these wrinkles emanating all the way to the center of our object right the nice thing about being in this texture mode is we can adjust the scale and stuff like this and rotate so we can actually be precise where our wrinkles are with our noise and all that good stuff so what I want to do is actually get out of the access mode kind of done with that so I'll go back into the object mode so I can move my objects instead of my textures but now what I want to do is actually isolate that noise this really nice noise we have it just isolated to our selection that we made here our vertex map and use this verse text map as like a mask so we can do that really easily we just turn on interactive region there so I'm going to go into my bump channel and I got my noise here but what I need to do is actually throw this noise into a layer so I'm going to go and grab a layer shader and then what that's going to allow us to do is work like we would in Photoshop when actually layer stack layers of other effects on to the noise and the effect that I want to add is it's actually cut off let me actually bring this up go to effect or shader or effect vertex map so I'm going to bring that in and you can see that just blows out the noise because it's underneath so what I'm going to do is if I go into my vertex map here let's just go back in here so if I go to vertex map click this square I can load up a vertex map so all I need to do is drag and drop this vertex map into the vertex map field go back into my go back up into my layer go into the layer shader and to use this vertex map selection as a mask to mask out the noise I first need to actually place it below the noise layer and now I need to change the blending mode of this layer to layer mask and then what you're going to see is very subtle wrinkles happening on the side here and what that tells me is I need to grow my layer selection remind my vertex map you can see with the bump off you can see something's happening you can see a little bit of distortion there but just not a ton so let's go ahead let's let's first let's shrink the noise a little bit but noise might be a little too fat and then what I want to do is actually grow this vertex map because it's not it's not emanating far enough to see enough of those wrinkles so what I'm going to do is just go ahead and apply selected I'm going to bring 100% strength I'm just going to add to that selection let's go to our polygon mode so you see our polygon selected here and let's actually grow this selection even more so again we're going to use the modeling shortcut view why and we just grill our polygon selection to one level thicker and now what we can do is double click our vertex map go apply selected and what that's going to do is apply full strength that vertex map to another layer of polygons and then we can go ahead and smooth that out again so I'm just going to do apply all smooth that out and now let's see since we let's just check to make sure since our vertex maps already in here it's going to actually update with all those changes and now let's actually see if we can see more of our wrinkles I think what our problem may be is our wrinkles are a little bit too thick so we can barely make them out in this here so you can see how big our wrinkles are so let's go back into our texture mode go into our axis and what we're going to do is just kind of shrink actually let's grow this up a bit and let's actually go into our texture tag here and adjust the length and you and you can see that's making smaller little bands they're smaller noise streaks let's make it a little bit smaller so now let's see how that looks now you're making out a little bit more you're seeing a little bit more of those streaks let's go ahead and bump up the strength so we can really tell how this vertex map is working so you can see that's actually looking really nice I cranked up the noise are the strength of the bump and you can see that really nice bumpiness from our noise is isolated and masked out by our vertex map so super super handy the cool thing about vertex maps let me just go back into my object mode here and go into my vertex map and double click again it's going to bring up my paintbrush the cool thing we can do now is we can let's just make sure let's check off visible only because what I want to do is paint this and then also paint on the backside have that paint go through so now uncheck visible only and what I'm going to do to go back in on my options I'm going to go to add and then just so let's just get a strength of 20 we can actually paint on here and kind of adjust where maybe we want to see more of those longer streaks on these selected bits here so it's a little bit more organic and has a little bit more variation so now what we can do is once we add it onto that we can now smooth this out you might have might have went a little bit too out of control here with this you might have to erase some of this because I think this area down here is going to have too much noise but you can see how they smooth this out making this look a little bit more organic and what I can do is actually a race and add more of that red back in so just nice little paint do your Bob Ross impression with your vertex map painting happy happy vertex maps and we can just smooth that out again something like that so it's not so uniform and we can even use a smooth tool on just certain areas here to smooth out some of this stuff so let's see what that looks like see certain parts you can see a lot more of our wrinkles here and that's looking really really nice looking way more nice than it was before again we can actually erase a little bit more like that so I really want to just tell the difference between where we have more smoothing and where we don't so you can see more of the yellow in splotches here right so let's see what that looks like now so you should be able to see more noise in some places less noise and others so you can see more noise up here well less noise right here a little less noise right here and that actually looks like a nice balloon because it's only pulling from some spots harder than the other some of that tension they're a little bit different so let's just we can erase a little bit more and smooth but you kind of get the point you can play around with this forever be Bob Ross for a day painting vertex maps happily there you go you got full control over that so that's the texture right that's how you can apply a nice texture and it on like a sphere an extruded circle but what if you wanted to do hearts and stars and all the other lucky charms kind of things what if you wanted to do that well that's fairly easy let's just render this one more time I dig it I like it digging it cool so what if you wanted to make other shapes well there's some things to kind of keep in mind when creating little shapes so here are some hearts and I want to highlight let's go into our views here I want to highlight how I made these splines here so this rounded circle here on the left and this is specifically where I want you guys to pay attention to is I have two points that make up this little crease here and in contrast with this object over here where it's just a single point it's just a linear point no rounding whatsoever no extra points right here or right here so you can see all the points there and you can see all the points there the only thing that's different is I have two points here instead of the one when I want you guys to notice what happens with that nice rounded bit here versus the sharp bit right there so what I'm going to do I already have these objects set up the for this workflow being that we have the grid quadrangles we have everything split up as they should be we have currents create single objects and then we also have the subdivided guy here and that's actually not matching so let me go and match that really quick so eight and then there's eight there and eight they're cool so both of our extrudes are good I'm just going to make both of these editable and I'm going to do a loop selection apply our simulation tag cloth scene colleagues going to set that let's bring our dress o matic down to three and do that you can see we have this really nice looks really a lot like a heart balloon and that's with you rounded the more subdivisions now let's do that same thing to our sharp edge the sharp edge right here the same exact workflow go to simulation cloth set the seams and bring the width down to three dress o matic you can see one huge difference and that is that this little bit is super super rounded so basically what I did was by creating those extra points here instead of just using one sharp when you use two sharp points I kind of guided that seemed a little bit more than a linear seam or a linear point would so let's just demonstrate this a little bit more with hopefully that made sense with a star so what I want to do is kind of go through again how having sharp points and not rounded points have everything kind of bunch up to these edges but if you have something rounded and look more flat and below or fat and bloated that actually helps us make our balloon a little bit better so again our sharp edges here we have everything set up single create single object quadrangles and subdivided so we're just going to make that and this is all sharp edges I'm going to hit C to make editable I'm going to go ul make my loop selection select the seams right click simulation tag cloth set the seams let's bring the width down to three for those seams and dress o matic you can see this looks more like a starfish than any actual star balloon and the reason for that is because we have those sharp points and they were very skinny so anything that has skinnier leg or skinnier width is going to get sucked in so you need to prepare for that and that's why I specifically prepared this this other star here if I go into my point mode and just make this editable you can see that I kind of plan for the kind of e suction happens when the dress o matic does its thing and what I want to do even further to help round this out is to select all these like inner points and I want to just right click and do a soft interpolation here so we have sharp points on the edges which I actually want because I want it to bunch up on these edges right here right I actually want that but I don't want this to be sucked in so much so that's kind of why I preemptively kind of scaled everything out a little bit more so it's more like a rounded circle than a star because those edges got sucked in extremely too much and made it look like a starfish so if I understand how the cloth dress o matic works in understand that this these edges are going to get sucked in a little bit to try to bridge those seams you can kind of guide the simulation and create your spline objects to kind of account for that so I have everything looking good on my rounded sphere my rounded star make it edible going to go do my loop selection do the same thing you do simulation tags cloth scene Pauli's and bring our seam with down to to dress on mat ik you can see that those edges got sucked in a little bit less actually a lot less than this one because again we preemptively prepared for that now we can go back we can undo all this stuff and maybe we want these edges to be sucked in a little bit more maybe that's a little bit too much so we can go in here and just scale this down a little bit and let's actually just show what happens when I round out these edges too so I'm just going to go and to actually round out edges and Chomper like you would an illustrator just right click we're going to go all the way to Chomper here and then we're just going to click and drag and then we can actually create nice rounded edges here so you have the super rounded or not so let's just see what happens when it's super rounded pixee make it editable grab those scenes ul for loop selection right click cloth set the seams dress o matic and you can see that the difference between those rounded Chomper edges and the sharp edges and that actually looks pretty good that looks like a star balloon so again how you set up your initial spline kind of make it look like it's a bloated kind of kind of thing you can really tell in my last example here the difference between just the regular letter I with some sharp edges and this like really fat bloated eye here so what I'm going to do is just make this sharp letter I edit able loop selection you're really going to see this kind of really get vacuum-sealed up and look very distorted I'm just going to go to cloth set the seam Poly's tres o matic and you're just going to see it shrivel shrivel up like that so again with letters with logos with anything you need to almost make it look like your your letter is in blow like bloated and just looks like it's about to explode spend a little bit too much time at the Golden Corral eating at the buffet and let's just make this editable let's see what this one looks like you Elsa loop selection simulation tags cloth set the theme Polly's rustle medic and you can see exactly like that was more predictable we made this bloated letter I and now we have this it's way more looks way more like a balloon then this shrivel little mess over here so that's kind of the up let me just go ahead and for this again if you want to save that hit set initial state and then just delete that tag so that's actually some geometry here and yeah so now you can texture that up just like we did with our main balloon here so that's basically it some balloons create some some happy stuff alright so that's how you can make a mylar balloon inside of cinema 4d so we covered all of the settings for this workflow to work using an extrude object and some splines how to get nice evenly subdivided meshes that we can then use the class engine and the dress o matic function to be able to make nice little seams to create our nice little wrinkly edges along our balloon then we covered vertex maps how we can use vertex maps as a mask view then apply even little more fine-tune wrinkles on our mylar balloons and then we went over a few more workflow tips for how to create different types of balloons like hearts and stars and even letters so if you guys have any questions about anything I covered in this tutorial please leave them in the comment sections I'll try to get to them as fast as I can and if you guys make any balloons using this technique I would love to see it be sure to hit me up on Twitter in the comments I love to really see what you guys are coming up with making your own fun balloons so if you like this tutorial be sure to hit the like button I'd really appreciate that and really appreciate all of you out there watching this tutorial I'll see you all in the next one bye everybody

Channel: eyedesyn

Views: 231,703

Rating: 4.949007 out of 5

Keywords: cinema 4d tutorial, c4d tutorial, c4d, cinema 4d, maxon, learn c4d, eyedesyn, c4d tut, mograph, motion graphics, tutorial, vertex map tutorial, cinema 4d balloon, c4d balloon, cinema 4d balloon tutorial, create a balloon in Cinema 4d, mylar balloons, cloth engine, cinema 4d cloth, c4d cloth, cinema 4d cloth tutorial, c4d cloth tutorial, cinema 4d vertex map, vertex map shader, mylar balloon, metal balloon, cinema 4d metal texture, vertex map shader tutorial

Id: jHBRxClL_cc

Length: 46min 58sec (2818 seconds)

Published: Wed Feb 15 2017