Cinema 4D Tutorial - Creating a Spiderverse Shader Using Sketch & Toon

hey everybody its EJ from Isaiah calm and in today's tutorial we're gonna be tackling a hugely popular into the spider verse type of material recreation using my favorite your favorite I'm in love with it sketching tune in cinema 4d so we'll be covering how you can build up your own type of spider-verse texture and at the end of tutorial stay tuned if you do not have sketch in tune because I'll show you a quick and easy way you can actually use this same workflow and adapt it to cinema 4d Lite which comes free with After Effects so let's dive into it my spidey sense is tingling let's get into it alright so first things first I want to show you the still of the style that I'm gonna be going for there's a bunch of different kinds of shaders and different lighting styles that are throughout the shader verse movie but what I'm looking for is this kind of look here we got this really nice rim light going on you can tell we have these you know one of the two of the main things of the you know spider-man shaders we have the halftone dots and then occasionally you'll see nice little like halftone lines kind of deal but this is what I'm gonna be going for is this kind of look with the hot rim light and I want to just mention this video by Jean Dennis Haas I hope that's how you pronounce that but it's the Spider Man into the spider verse animation analysis I just think this is really really cool because what it does is it shows you all of these really cool traditional kind of 2d animation techniques and here's a really good still where you have those like half halftone like lines and then the dots we have like some you know specular halftone dots here for like the webbing kind of texture on the suit and we got this really nice painterly texture as well it almost looks like it's painted on that looks really good but anyways this video I just want to point out it's really cool if you want to study how they're adding nice little you know really detailed 2d cel animation techniques into the world of 3d and I just think that this movie is really hopefully gonna spark a lot of interest in getting traditional you know hand keyframe where hand-drawn cel animation into the world of 3d just because of how extremely popular this movie was but basically you get a good idea of your the the overall style of spider-verse as well as the specific look that I'm gonna be going for it's this guy and not the little dark dark spider-man I'm I don't know what the name of these spider-man's are but this main one is the one we're gonna be going for and breaking down using sketch and toon so let's jump into that okay so let's start by creating our material that will be the spider-verse material so first material there we go and I'm gonna turn off the color and we'll leave on the reflectance for now but basically we're we're gonna do a bulk of our working with shaders is in the luminance channel so I'm just gonna turn that on and let's just go in drag and drop this on to our shader ball now if you don't have a shader ball handy all you need to do is a simple search on the Google's 4 shader ball c4d free I believe this is the Corona shader ball but there's the Arnold shader ball there's a ton of free downloadable shader balls you can get out there too and it's it's really great to use a shader ball to figure out like how your texture looks on different types of surfaces and curved surfaces and flat surfaces and all that good stuff so just want to say that right from the start download your own shader ball so you can follow along but we're in our luminance channel and what I'm gonna do is since I know I'm gonna bleed layering up a lot of different shaders I'm just gonna go ahead from the get-go and just load up a layer shader and if you've never used a layered shader before basically what this allows you to do if I click on this button it dumps you into a system where you can build up stack of layers of effects like layers and Photoshop so this is really really great to be able to use to say stack up a bunch of different noises or in our case stack up a bunch of different kind of cell shaders and other types of shaders like that so let's first go and grab our cell shader okay so sketch in toon cell shader and again I just want to reiterate that at the end of this tutorial I'll show you how you can do this in cinema 4d Lite or any other version of cinema 4d that does not have sketch in tune okay so keep that in mind one important thing to know about the cel shader as far as working with this in the viewport is that if I go ahead and render this view you're gonna see that what we see in the viewport and what actually renders is completely different so when working with the cel shader and I noticed and I mentioned this in a lot of my sketch in tuned tutorials what we're gonna do is bring up the interactive render region so we can actually get a accurate representation of what our cell shader looks like on our object so I'm just gonna go to my render button here and just go to interactive render region and then I can just readjust the bounding box here and this little arrow is basically your quality slider you can see if I bring this low we're gonna get the super 8-bit bit pixelated kind of deal but if I crank this all the way up to the top we're gonna have full res which is gonna be really great okay so we got this so far and I'm just in standard render but now what we can do is start adjusting this cell shader here so I'm gonna click on the little box there and here is the diffuse Channel that diffuse gradient that is controlling how our cell shader looks and right now the light source defaults to our camera view so it's almost as if our camera is shooting a light or straight out flat at our object and that's pretty boring so what I'm gonna do is instead of using the camera as the light source I'm gonna use lights as a light source and since we don't have a light currently in our scene I'm just gonna go ahead and create one and I'm just gonna create a nice area light and let's make this a target light so what I'm going to do is just add a target tag to this and have this just target our sphere so it's always gonna be looking at our sphere and now I can easily do is go ahead and move this out and basically what's gonna happen is this light is always going to be facing and looking at our object here okay so here's our camera here's our light let's just move this up get a nice like 45-degree angle here something like that so we get a good representation of how this shader looks and we'll go back into our perspective view and let's go ahead and let's turn on some soft shadows for this because in the spider-verse we got some like really nice soft shadows not not the hard shadows you'd think of even the cell shading is very soft it's not very sharp like this so what we're gonna do is with in this shade the cell shader first things first with let's turn on the shadows so we can actually see the shadows show up here and the next thing we're gonna do is change the shading from just a linear step not too smooth so we're just gonna smooth out all of these knots I'm just gonna click all these knots and change them to smooth let me just remove this not so it just goes from black to white so just a smooth knot there and then for the diffuse I'm gonna do the same thing twirl this button down just click that little arrow and just select I think I can maybe not maybe I can select all these knots at once nope okay let's just check just select all of these change them to smooth so you're gonna see we're getting a smooth interpolation between these gradient knots we have a much smoother type of representation of our cell shading here and now is where we can start to add our little spider-man colors okay so basically what I'm gonna do is just double click on this object and I actually have that still up that I showed you off the top and I'm just gonna sample some of these colors so first thing I want to do is get the really dark shades of red so right there and hit OK and then for this middle not let's go and grab this you know medium red and then some high light red I'll just grab the eye drop and get one of these like maybe like pinky kind of colors there something like that and if I wanted to I could add maybe another knot here so this is like kind of in between this really dark and the medium type of red okay and now what I'm gonna do is sharpen these knots just a little bit so let's just sharpen these up by grabbing these little circles in waiting the the the gradation from instead of like being smack dab in the middle so we have even distribution we're gonna we're gonna wait it more towards the dark side and you can see we have this sharper but yet still soft type of great type of color change color gradation here I'm gonna do the same thing for this little circular not there and so now you're starting to see the cell shading banding which is nice so we just want a hint of that just very subtle and maybe we'll wait this like that and maybe move these around just so we have less of this highlight maybe and we can play around with you know how this is weighted on each of these gradient knots here and kind of see how that looks but I think I'm liking this and just for getting like really nice stylized cell shader effects I haven't said she'll say dirt shader yet which is great cell shader and just to be able to smooth these out really adds a lot to your sketch in tune renders so I always encourage you to not just use the typical linear or step kind of interpolation that basically just goes from one color to the next without any smoothing what so what so ever but just adding a little bit of that smoothness really adds a lot of style and customization to your cell shader so it just smoothes it out just a little bit and just that little bit really goes a long way maybe for this highlight maybe not so not so bright but basically there you go we have our nice little spider verse kind of shader there it's not exactly a hundred percent accurate as far as like we could definitely brighten this up but I'm gonna use some like hue and saturation later on but this is getting pretty close we got a shadow we got our diffuse and we got our lights turned on in our shadows so that's basically all we need to do for this cell shader currently next thing we're gonna do is go ahead and add our lines so those little halftone lines and basically from what I've kind of researched is the the lines happen where the shadows are okay so what I'm gonna do is go ahead and grab yet another layer shader because what I'm gonna do is layer up the lines with another shader and I'll get into that very very soon here but basically here's our layer I'm just gonna double click to rename this and I'm just gonna rename this lines okay and I'm gonna click in the little box here and here's a whole another layer system here okay so here's where I'm gonna go and grab my surfaces and grab tiles and that's cut off so let me just move this up shader surfaces tiles all the way down there and now what I'm gonna do is go into this tiles and I can just rename this lines because that's what this is gonna Altima Talebi and by default it's this ugly checkerboard kind of thing with these ugly colors god-awful colors like they couldn't have picked better colors for this anyway so what we're gonna do is go in instead of the little grid we're gonna choose lines one okay so we got this all set up and now basically what we're gonna do is just let's get rid of these ugly ugly colors let's change the grout color to white and then for all of the other lines I'm just gonna what I'm gonna do is choose different grayscale values of four for these lines here and I'll show you why that's gonna matter a little bit later on it's because with this we can actually get different variation shades of the line so it's not so uniform and if I turn on this randomize color it's gonna randomize which of those colors are being selected for each the lines here so it just adds it breaks up the uniformity of the colors there and now what I'm gonna do is uncheck the bevel we don't need bevel going on here and I'm gonna just increase this grout width and now what we're gonna see is now I kind of have even spacing for the most part here and what I'm gonna do now is just bring this global scale way down because this is way too big of a line so let's try like 10 and see how that looks all right so now we have our lines they're orientated in the U but basically what you want to do is have this lay flat projected flat on your object and typically to do that you would go into your actual material tag or texture tag here and change the projection the only problem with that is if we change the projection of the entire material it's gonna change the projection of everything else that we add on here all the shaders and we don't want to do that all we want to do is just add a different projection for just the lines so to just isolate the change in material projection to just the lines what I'm gonna do is go back into my luminance channel jump back in the layer shaders and go in grab something called a did you do projector okay now what the projector does if I jump into that little box here is allows you to change the projection of a specific texture now we already built our lines layer shader so what we're gonna do is just go into our lines layer let me rename this lines layer okay and I'm just gonna right click and I'm gonna copy that shader and what I can do at that point is just delete the lines layer shader go into the projector and on this little button just say paste shader so what that's gonna do is load up that line shader into the projector and now the great part about the projector is now I can individually just change the projection of that line shader so if I want this to be completely flat what I can do is choose flat and you can see what's going there or I can just do frontal and what that's gonna do is make it super flat and always kind of face the direction of the camera so it depends on what kind of thing you're looking for I think for the kind of cartoony type of look maybe you want this to be near the lines to be independent of the actual object or the rotation of the camera or anything like that so it's kind of super Tunney so we can go in maybe just choose this projection frontal so it's always gonna stay like this so the problem with this is is the lines are pretty horizontal so what we can do is maybe rotate this a little bit so what I'm gonna do is go into the lines layer and go to effect and what I'm gonna do is just add a transform and here's where I can adjust the angle of the lines to say you know 28 degrees or whatever you want to do whatever what type of angle you want in there we go okay so we've got our lines we've got our lines angled we have our lines always facing towards our camera because of that frontal projection again if you want just the flat you could also do that as well and that will kind of stick to the material for the most part but I'm just gonna go for frontal and now I can go back into our main layer shader and actually let's just rename this layer shader spider-verse okay so go into the spider-verse into the shader into the shader verse and there's our projector and I'm just gonna double click on this and just name this lines group okay so this is just gonna hold all of our lines alright so now what we need to do is limit the lines to just the darker shaded areas of our object okay so what I'm gonna do is grab a folder and I'm gonna place this lines group in that folder and I'm gonna grab a new cell shader actually what I can do is just duplicate this cell shader here and to duplicate a shader what you're gonna do is hold the command or control key down click and drag on that box and that will allow you to duplicate a sh if you click and drag on just the text you're not gonna get anything make sure you're clicking on this little box and that'll allow you to duplicate that so what I'm gonna change this to if I go into this cell shader I'm gonna remove the shadows and what I'm gonna do is just remove these gradient nots and just make this black and white because basically what I'm gonna do is make this into a math just a black and white matte all right and it's gonna be controlled by the lights as well so basically what I can do is use this new cell shader and use this as a kind of thing we can multiply the lines on top of and now you can see that we're actually removing the lines in the darker area so what I'm gonna do is go onto my cell shader right click and invert that gradient and now what you can see is I can adjust the kind of gradient knots here just get this to where the darker areas are okay now one thing that helps for this is using this back facing and what the back facing does is allows this gradient to go in the front in the back of the object so without this on this gradient is just going to span the front of this object so back facing allows us to go in spann the gradient from the front to the back and this allows us to just have this fine little slice of the lines just in the darker areas of our object here okay so there's our lines we can go into our folder and let's just rename this lines folder and now what I can do is just change the blending mode of this folder to say burn okay and now what you'll see it's very subtle but you can see lines right here let me just zoom in here but there's our lines in the darkness right there and if that's a little bit too subtle maybe we just adjust our gradient nots here in the diffuse just a little bit so we get more of the line texture there okay so now we got our lines let's go and get some dots those little dots light halftone dots and if you notice in that still in that little video I showed you where it's very subtle but it's almost like the scales on the mesh of the the costume is only shown by like specular highlights okay so with that in mind what I'm gonna do is load up the little half tawny looking dots or just dots in general in the reflectance here okay so what I'm gonna do is just change this specular to like a very sharp maybe actually not sharp yet let me just build this up as a just wide kind of specular here so something like this so very wide maybe not so big on the strength there but just something subtle like that and what I'm gonna do is this is kind of just making this all a little washed out so what I'm gonna do is just grab a reddish kind of color here maybe something like this and now we have that as the color I maybe shrink this width down a little bit inner width down a little bit there too so just something like that just a little sharp kind of thing a little bit more subtle and you can barely see it right if I turn this on and off it's very subtle right now what I'm gonna do is to get that kind of mesh highlight of those little halftone dots what I'm gonna do is go into the layer mask of our specular and here's where we can mask out the specular highlight using a texture and the texture I'm going to use is in these surfaces we're gonna grab the tiles again again it's cut off I'm sorry but let's go to our surfaces tiles it's right at the very bottom there and again we're gonna get our super ugly checkerboard here and you can see how the checkerboard texture is kind of masking out our specular we can see that represented on our texture now so we wanted to do instead of these squares I'm going to choose circles too and you can tell the difference between circles one where it's very linear and lined up in circles two where it's more of like a honeycomb kind of deal and changed the tile colors - just again different values of greyscale just so we have a little bit of variance as far as how this is gonna look so let's add even more let's have one bright white one medium gray and let's randomize that color so it looks like a disco ball in uncheck that bevel there okay so now what I'm gonna do is make the grout with a little bit bigger so our dots are smaller and then maybe just decrease the bevel width a little bit there as well so maybe something like 20 nice even round numbers and now we're just gonna scale all this down to say about 10 and see how that looks so now we have our very small dots maybe we can increase or decrease the grout with a little bit maybe something like that and I think that's looking pretty good like that and now what we can do is maybe create a whole nother specular here that's a little bit brighter so this is gonna be subtle and let's just go and copy and paste that default specular so this is gonna be the the subtle highlight and this will be like the hot specular highlight here and for this new hot speck what I'm going to do is maybe grab like a pinkish kind of color and let's make V with much smaller and make the strength much higher - like a hundred percent okay and bring the inner width down maybe the fall-off a little bit down - and let's crank up the brightness to like a hundred and fifty or something like that so what you're seeing is we're having a subtle kind of specular hit with the dots and then we have this really hot bright spot right about there okay and maybe we bring this to say 160 so we got that really bright specular now what we can do is maybe the dots in this specular is going to be a little bit bigger so if I decrease this number we're gonna get bigger dots okay so maybe 20% and I can do is maybe just change this to 25 and let's go into the original subtle dots and make these smaller so to make the dots smaller we'll just increase the grout width and you can see they're really small now and it almost looks like a halftone right where we have the bigger dots and the smaller dots I think maybe this is a little bit too small okay so maybe something like that and if we really want to layer this up maybe we have the big dots medium-sized dots and then small dots okay so maybe this will be the mid sized dots and let's just decrease the overall width here okay and let's copy and paste the midea medium-sized dots and this can be the small dots okay and this will have a more wider width here all right and we'll just make these smaller and again to make them smaller or just increase the grout with here okay so something like that to say 65 and now if I kind of bring in the width here a little bit you can almost see we have like a halftone kind of thing going on where we have different size dots kind of going across the surface of our little shader ball here okay so that's kind of faking a halftone by layering up different types of little dots here okay and we can even increase the overall strength so these small dots a little more subtle and maybe decrease the specular strength of these guys and really let's let's bring this to maybe 200 get really hot there boom something like that 85 and then maybe bring this up to like 120 and there we go we could tweak this forever but this is looking pretty good I would say and let's just go ahead now and let's go back into our luminance and start layering up some more things we have our our halftone dots kind of deal we have our lines and if we go into our spider-verse texture maybe we'll bring the burn level down just to make this a little bit lighter a little bit more subtle and what's actually happening is I don't like this black background here it's a little bit dark and it might you know it's kind of screwing up how I'm viewing some of the shadows here and stuff like that so what I'm gonna do is right-click on this little arrow and choose alpha mode and now I can just see this object with the background that little viewport grid so now I can see okay I'm seeing more of this kind of texture there maybe we can go and go to our for up view bring this light around so we can see how this looks with a different light view so that's looking good and maybe our shadows a little bit too dark so what I'll go is go to my cell shader and just lighten up those shadows a little bit now you can see a little bit better those those those lines right there okay cool so again the the style I'm going for is this so we need to get this really nice hot rim light going on here alright so what I'm gonna do is layer up a bunch of different shaders again so let's go into our luminance going on the spider-verse shader verse here and build up our rim light here okay so let's go in create a new folder and drag and drop this outside the lines folder and we'll name this rim highlight okay so now what I'm gonna do is I'm gonna use the same kind of technique where I'm using the cel shader set to black and white to use this as a mask or to use it with blending modes basically the isolate where I'm my object the rim highlight will be okay so what I'm gonna do is grab this cell shader command click and drag and just place this in the rim highlight what I'm gonna do is just turn off everything else even the reflectance and now you can see what these cell shaders doing just set to black and white you can see how we're using this with the multiply mode for the lines to just have the lines show up in the white areas of our cell shader okay but what I'm gonna do is use this cell shader in conjunction with a for now cuz basically what I want is just a rim highlight right here on this my object okay so let's go and grab a for now okay and now if I use this cell shader and set this to layer mask what this is gonna do is isolate the friend now just to the white area the bottom here of this cell shader here so what I want is this to be a rim light like a top left rim light so what I'm going to do is just invert the gradient nots here and now if I adjust this you can see that now the highlights just in the top left or this is our for now here basically so here's the for now let's bring this up here and let's see what that looks like you can see just a little bit of rim light going on here so just like that and this is exactly what I'm looking for is a nice hot specular highlight right about here for the rim light I can even change the color here to maybe a little bit of pink add another gradient not make that a little white so now we have something like this we got this nice bright highlight there so there's the highlight now we can do is turn everything back on so I'm just gonna turn on the highlights let's turn it back on the reflectance here and let's set this rim highlight to add okay so we're just gonna add that highlight on top of everything else and then we got this really nice bright specular hit here and if we want a little bit more of that basically what we'll do is just move these gradient knots and we're gonna get even more of that specular highlight it's actually gonna reach further as well okay we can adjust this as much as we want and I think I want maybe a little bit of more white in here so let's just move this down like this see what that looks like and that's pretty that's a pretty big highlight so let's just move all the for now gradient not too low over to the left a little bit more so it's showing less and I'm digging that I think that's looking pretty dang good and we can tweak this every all these things we could tweak forever but I'm not gonna I'm gonna spare you right so basically what this setup does is allows you to use the basically the diffuse level or wherever the diffuse is use it for now so there's always gonna be a highlight no matter where the light is so if I go and move this light say down into the right maybe something like that you're gonna see there's my hot rim light right there okay so we're always gonna get a really nice rim light action going on no matter where our actual light is in our scene be it's always based off of that cell shader that is being driven by the lights in our scene okay so now let's go back into our spider-verse material here and basically what I want to do is use the same kind of setup for a backlight now if I bring back my reference you can see we have our bright rim light here and then even here we have this really nice rim lights that's a little bit more faded out around the other part the body here okay so what I'm gonna do is recreate that using the same kind of setup so I'm just gonna create a new folder and this will just be the kind of like the back light which I mean really what it is is just the you know weaker rim light basically and I'm gonna grab my cell shader command click and drag to duplicate that make sure that's underneath the folder here grab the fernell again and we're not gonna change anything to for now basically the only thing we're gonna need to do let's let's just turn everything else off and maybe we'll just change this to add again so now we're just seeing where this backlight is so you can see that you're just seeing all the front nail so we're gonna do is change this to layer mask again and now you see the the same highlight we had before but if we want to change this so it's actually down here all we need to do is just reverse gradient knots here so now we have it on the bottom and again this is all based on the diffuse here and also the fernell so I'll just remove this not maybe make this a little bit softer so something like that so we get this really nice soft kind of from Fornell only isolated to where the darker areas of the cell shader is and maybe we'll change this maybe we'll sample this color and make it a little brighter so now we have this really nice kind of back rim light hue which is really cool so now what we can do is if we want to turn back on a rim light turn back on our lines this is helping our lines kind of even show up a little bit more and we can also adjust the the actual overall transparency of this backlight group backlight folder to get whatever level of kind of highlight we want so we have this hot specular we have a nice soft rim light and again this is all customizable you can adjust your heart's content what all of these little all these little specular highlights and all that stuff look like okay alright so we're getting this is looking really nice so far right so what I'm gonna do is kind of finish the look by adding a little bit of that really nice painterly kind of texture because right now this is a little bit too perfect right we don't have that sense that this looks like it was like hand painted or you know brushed or anything like that and there's actually a really simple way to kind of break up the gradient or yoursel shader here and it's using the bump channel okay so what I'm gonna do is just turn on the bump and what I'm gonna do is use a layer shader for this as well because I know I'm gonna layer up some noises and every time you work with a noise shader it's always good to layer up multiple noises so you don't have it look so on like so perfect like oh that's definitely a booyah noise shader you know but if you layer things up it's gonna look a little bit more organic okay so there's my layer shader let's just name this noise go to our shader here and let's just grab a noise okay and what you're gonna see is we're just adding some bump here and it's looking kind of cruddy but what I'm gonna do is go into my luminance and what's going on is the fernell is actually using the bump and I don't want the Finnell to use the bump so I'm gonna uncheck that on all of my friends here so I just want to I don't want to break up the uniformity of the actual highlights here okay but what I do want to do is use the bump in the cel shader I want it to be able to break up the cell shader here so what I'm gonna do is just check on use bump and immediately you can see that now that noise shader is effecting and adding little bumpy roughness to our diffuse here in our cell shader okay so the other thing that's showing up is just the bump on the specular here but I'm just gonna leave that for now if you wanted to bring down the bump strength and how it's affecting the the specular just bring that down to zero but I'm just gonna leave that for now and now we can do is start manipulating the strength here as well as the different noises we have pile it up here right now this just looks kind of terrible so what we're gonna do is go ahead and change the noise that were used here so for our first noise let's just use the default noise shader but what we're gonna do is bring up the scale to really high say like 1200 and now you're saying it's way more subtle you see like a slight little wave here if I turn off the bump and turn it back on you can see that subtle difference there okay so we're kind of getting there alright so what we're gonna do is bring up this contrast to say 40 get a nice round number so now you're seeing a little bit more of the waviness that this noise shader is kind of is adding to this okay and now what I'm gonna do is add another noise to this so here's my first noise I'm gonna command click and drag to add a new noise and let's just go ahead and set this to overlay alright and now what I can do is go into this noise this new noise and change this to a different type of noise and if I click this button here you can see all the different types of noises we have here so what I'm actually gonna use is the blister turbulence right there cuz it looks kind of painterly even and what I'm gonna do is bring the scale pretty far down okay and maybe remove some of the detail from this noise and we can do that by changing the octaves you can see as I bring this down we're removing some of the detail so the difference between like five and two you can see more of that kind of break up there so I'm just gonna leave this at two and got the scale way down let's change the Y scale to say 500 so it kind of stretches out a little bit you can see as we're layering these two noises already it's kind of looking a little bit more painterly okay so looking pretty cool so far and let's just leave the contrast at 40 and I think this is all looking good so far let's maybe bring down the Y scale and see what that looks like all right so we're kind of breaking it up a little bit it kind of reminds me of like one of those kind of hippie-dippie like tie-dye bowling balls so far but we're getting there we're gonna load up some more noise here bring on some more noise and let me just command click and drag to duplicate noise one more time and let's set this to overlay as well or maybe even multiply we can kind of play around with this later let's just change this to overlay for now and we'll go into this noise and for this noise let's choose a fun sounding name like stupor so right here and just immediately this really looks kind of whacked-out doesn't look all that great let's bring back the octaves to the default number of five and again you can see this kind of looks kind of painterly in a way you can see these kind of little brush marks almost and what I'm gonna do for this is just bring back this relative scale to default I'm just gonna right click on these up and down arrows to bring that back to default and let's just bring the global scale a little bit smaller to say 500 and maybe bring down the contrast a little bit so maybe something like that maybe we'll up the the brightness to okay so now we're kind of getting this painterly look let's go to the noise let's just bring down the opacity of this layer here okay and maybe instead of building up and making this darker let's try a different blending mode like screen and let's see what that looks like I think that's looking a lot better let's try screen on this other noise and I think I'm liking that a lot better where we're kind of lightening the overall load of some of these and maybe we increase the opacity of that top screen that was the stupid and now we got this really cool kind of brushed kind of look here looking really good and let's maybe see what this looks like if we increase the strength really high to say a hundred percent now you can really get this sense of like this grungy brushy kind of of action going on here which is really cool maybe you know 75 is good right there maybe we go into the screen maybe bring down the octaves so it's less detail and that that doesn't that doesn't look very good so maybe something like this maybe increase the brightness a little bit more and I'm digging that I'm liking that again you can keep tweaking this forever again I'm gonna spare you for this of course but let's go back into our luminance and just like we added noise to our bump let's maybe add some noise just for like a nice finishing touch to our cell shader spider-verse stack here so I'm gonna go to shader let's go to noise just bring this out and just have this as the topmost layer let's go into this noise and let's choose a different type of noise like let's do wavy turbulence here and this kind of looks kind of painterly as well and let's increase the scale to say 1200 and let's bring down the octaves just kind of smooth this out a little bit say too too and maybe just increase the contrast a little bit and let's set this noise to multiply and now we have like these kind of more it's more it's less uniform this cell shader action it looks a little bit more grungy maybe we just bring down the strength of this to say you know 40 and I'm liking that so let's just toggle that on and off it's just a very subtle thing maybe we choose screen if we want and that's not enough that's not looking good maybe dodge you just I mean a lot of this building up of all these things were just kind of testing around with different blending modes and seeing what looked best so maybe you know burn looks better than overlay but you can see how just adding that little bit of noise helps kind of break up the uniformity overall okay and for a finishing touch let's add some ambient occlusion and what I'm gonna do is just layer this into our luminance here so let's go to effects ambient occlusion and let's set this to multiply so now we have really nice shading on our let's just toggle this on and off on our model here okay so really nice baked in ambient occlusion maybe we bring down the maximum ray length or how far that ambient occlusion travels across the surface of our object and there we go no say you think this is a little bit too dark okay and just like you would if you layer it up a bunch of things in Photoshop what you could do is use like an adjustment layer and kind of pump up the the saturation or the brightness well we can do the same thing going into the effect panel here and maybe bringing in a hue saturation and lightness or the brightness contrast and gamma so maybe we can brighten this up with the brighten brighter gamma add a little bit more contrast here and there you go we already we're already looking way more red and maybe we just decreased the saturation a little bit or pump up the saturation so it's really really red and maybe we want to change this to like the darker purple kind of spiderman if we let's try to find the purple in here there's purple so there you got your purple a spider-man whatever the name of that that darker spider-man is let's just move that back to 0% maybe get a little bit more pinky little pinky spider-man or a little bit more you know oranges spider-man basically I just want to show you that you can adjust all of these using hue saturation and lightness effects here and just be able to adjust all of these different things to get the exact type of color and look that you want and that's looking pretty dang good if I do say so myself that color but again tweak this forever you know I'm right now that is a majestic these things maybe I want to bring up the lines there a little bit more but yeah all right so now the great thing let's just close this out great thing about this is if I move this light around you can see how this kind of changes with the direction of that light so no matter where I put the light we're always gonna have a high light we're always gonna have that back rim light and everything's gonna look pretty good ok so again you're seeing the nice little specular hit of that little tile going on there and something you're gonna notice is that our dots are looking kind of squished so if you wanna prevent that let's just go into our dots that's in our reflectance going to layer mask what we're gonna do is just kind of squash down the you scale or sorry let's let's just squash down the V scale there and now we're gonna squash that down and now it's gonna be more uniform here so we can do that in all of our dots in all of our specular x' if you would like I'm not gonna go through all of them but say you know 65 and that's looking good and you know keep adjusting things playing around maybe add a little tints maybe a blue highlight or something down here add some nice little tints to your rim and again where if you want to add color to your rim highlights you would add that color into your actual Fornell okay so now you can see that this is getting a little bit more bluish on that I'm just gonna undo that but yeah alright so I promised to show you how to do this using something other than sketch in tune because if you don't have sketch in tune you do not have the cell shader so what I'm gonna do is show you very quickly how you can recreate this without using the cell shader and I have a tutorial all about this on my website but I'll show you really quickly how to do this so let's just go and let's delete this shader and what let's just delete it from our actual shader ball I'm gonna double click create a new material imply it there so just take a snapshot of how the light is affecting all this stuff and I'm just gonna double click turn off the color turn off the reflectance and just go into the luminance so we don't have a cell shader in cinema 4d Lite right but we do have something else that allows us to take the diffuse channel and pump it into our luminance here and that effect is called Lumis and you can see basically we just pump back in the diffuse channel using the luma shader alright so what we're gonna do now is basically just take the luma shader and we're gonna quantize this down into different colors basically going to colorize it in cinema 4d just happens to have something called a colorizer that allows you to take that information that black-and-white information that's coming from an Illumina shader and adjust the gradient knots here alright so now what we can do if we want to get that spider-man again default colors on these just awful just awful default colors but we can change this to the red right and adjust all of these gradient knots maybe make this a little bit darker red a little bit brighter red in there we go and again we have the same kind of setup where we can just the interpolation of the smoothness of these dot of these little knots here and basically there is your your cell shader if you really want sharp shaded edges just bring down the the not the circle knots there and let's just move this light around so we can see more of this something like that and this still works with the bump in all that good stuff so that's basically it in how you can create the cell shader using a combination of Loomis in a colorizer basically you just then instant study using cell shader just use this colorizer and layer everything up using the same workflow that I just showed you so if I go into the spider-verse basically this cell here you'd replace with the colorizer and the Loomis same there same there basically wherever the cell shaders are you would just place in that colorized Loomis and you'd get that same kind of effect ok and if you have any other questions be sure to check out my other tutorial which I'll link to in the in the little description section of how you can get the cell shader and rebuild it with that Luo moss and the colorizer and and really go more in depth into it alright so that's it that's how you can get into the shader verse and get your own Spider Man shader in here and another good thing to do is when you're using the shader ball here also I just have like a whole bunch of primitives here right there and it's just good to see how this looks with different objects so here's just the collection of objects let's place the spider-verse texture on those primitives you can see exactly what this looks like on different textures or different objects ok so you can see that something goofy is happening with our dots here so we'd have to go in and maybe squashing those dots down was a bad move so let's just go and bring up the Kyle's 200% and get those circles less flat okay so maybe we need to scale it down on the U instead of the V so depending on what object you're applying this whole shader to you might have to go in and tweak certain sizes of how big those dots are if those dots are squashed down you'll have to adjust these things as well maybe make V the size of the dots a little bit bigger but it's all completely customizable and again depending on what your model is the changes are just something that you're gonna have to do just to adapt to the the UVs of those different objects with that being said have fun with this I hope you learned something about layering up and getting really into the shader system of cinema 4d all right so there you go that's my little workflow for how to get into the spider-verse type of textures I kind of introduced you into the shader verse with stacking up a bunch of different shaders together and using something I've never really used before which is the projection shader so it's always helpful to go in and dive into all those little effects and see what these shaders do because there's a lot that comes in with standard cinema 4d renderer and you know just like octane or redshift has this whole wide variety of different shaders sometimes we tend to neglect the the native shape shaders that are inside of cinema 4d show them some love and hopefully they can help you recreate something some other kind of texture in the future but if you have any questions on anything I covered in this tutorial leave them in the comment section below and you know I love seeing what you're making so be sure if you create your own little spider-verse your little spiderman pig or pick at you or whatever I want to see it tag me on instagram on facebook on twitter all over the interwebs on the myspace and show me what you are working on I always love to see what you guys are creating and it's very important for you guys to create so let me see it and I will see you guys in the next tutorial as always thank you guys so much for watching if you liked it please like this video if you like my channel please subscribe and you'll keep seeing me every time you ding that little subscription bell and I'll see you in the next one alright bye everybody

Channel: eyedesyn

Views: 79,852

Rating: 4.9654493 out of 5

Keywords: spiderverse, spiderman, cinema 4d, cinema 4d tutorial, sketch and toon, sketch & toon, toon shader, sketch and toon tutorial, sketch & toon tutorial, c4d tut, c4d tutorial, toon cinema 4d, cartoon shader, cartoon shading, 3d toon, eyedesyn, learn c4d, cel shader, cinema 4d cel shading, cel shading, c4d cel, cel shading tutorial, mograph

Id: gssuU-FTNJA

Length: 52min 49sec (3169 seconds)

Published: Wed Mar 06 2019