Cinema 4D Tutorial -- Model and Texture a 3D Eyeball

hey guys and girl I'm sure there's at least one of you out there on the internet watching my tutorials I hope but before I jump into the next cinema 4d r14 tutorial I just I really just want to say thank you guys for all the positive feedback from the last one I posted it's really awesome to hear from everybody in such positive way so thanks it's really cool to hear that my little bag of tricks are helping people out and it just it's inspirational and it's humbling and it just drives me don't want to make more of these and and I hope I hope I continue to deliver so let's get on to the next one today I want to build on eyeball in cinema 4d r14 studio we're gonna use all procedural textures that means I'm not gonna use any scans I'm not gonna use any images downloaded off the internet everything that we're gonna use is gonna be created right inside of cinema 4d with no third-party plugins we're just gonna use the material editor and you don't even know need to know how to draw you don't have to have any illustration skills this is gonna be really cool tricks so starting with looking up on Wikipedia to find the size of an eyeball they say the average adult human eye is about 24 millimeters in diameter so we work in radius here so we cut that in half we're gonna go 12 millimeter and when we hit Enter cinemas are gonna convert it automatically for us to centimeters and then I want to zoom in on that new shape get that up on screen here and I'm gonna go into hidden line mode what I want to do is I'm going to convert this primitive object at twenty four segments low poly I'm gonna convert it to an object so it's no longer gonna be editable as a primitive it's gonna become polygons but I'm gonna go to my polygon tool and I want to grab this top cap here and get rid of it and that's gonna be our opening that's gonna be our pupil and the quickest way to do that instead of grabbing the select tool and selecting each one by one if I hit you on the keyboard and I get this menu and loop selection is an option if I hit L and you can see the cursor changes I just click once and it selects everything in that loop and I can hit delete on the keyboard and just like that that cap is gone I'm going to make this ring the iris of the eye ball so I'm gonna grab the edge tool and with the loop tool still selected otherwise you hit u L and grab that loop wrong one I'll grab that then I grab my move tool and then in the y-axis mode I'm just gonna drop that down and I'm actually gonna sink below so it's even it's like a scoop it's not gonna be flat across it's gonna be kind of scooped in and that's going to be our iris now if I hit render at this point you can see that the Phong is actually smoothing out that edge and we want that we want that to be sharp so grabbing the sphere going to the Fong tag changing that angle from 80 down to 30 if I hit render now you'll see that edges back but because it's low poly here I want to put this in a hypernurb to smooth everything out and that's gonna end up smoothing this edge out again so if I have my sphere selected and hold down option hypernurb puts everything in a cage but it smoothes it out so one more time go to my edge tool i go to you l for loop and i want to grab that edge now let's zoom in and turn on the interactive render region so you can see this cool trick interactive render now see how it's all smooth here and a quick tip if I hit Q I can turn off the hypernurb cage and then hit Q again even if I don't have hyper nerve selected I've got this top loop selected here hit Q to turn it on M on the keyboard pulls up a different menu and I want to hit R and R is gonna weight the hypernurb so if I grab that see the cursor change there and I pull that and see how it's pinching that there as soon as I let go I get my hard edge back a little more detail in here zoom back and now you can see we've got a hypernurb smooth cage with a hard edge so now we want to build the cornea the little lens cap that goes on the top and I'm just gonna use the primitive sphere and we'll leave this one primitive comes in really big I'm gonna go eight millimeters across I'm gonna leave the standard segments of 24 it's gonna put it inside there I want to drag this up we're gonna turn off my snap and drag this up right till about where it intersects there and I know that's about I can't quite round that off to five but I can go just a little bit more and it's gonna creep out a little bit past it as long as I leave this button here render perfect checked it's going to give me this perfectly smooth dome over here regardless of the low Polycom so we're gonna leave that as a primitive that becomes our lens for our cornea so let's call this the cornea let's call this the eyeball and with the cornea selected I'm gonna drag this material on to the cornea slide this over to the side and we're gonna open up our material editor big on the screen and I'm gonna start doing some texturing so my default materials are always gutted out because I'm never using it straight out of the box I always tweak it so I zeroed everything out I've added that material to that cornea lens so we're gonna call that material cornea and with transparent objects I don't want this white here because it's gonna make the glue the lens look milky so I'm gonna turn that brightness all the way down to black I could either set the color to black but either way I need the color box checked or the cinema will calculate it different if there's no color in here so I want at least black color the second thing I want to do I want to do a better specular than the default built-in specular so I'm gonna use the luminance channel I'm gonna come into effects and grab Loomis and Loomis gives us this really cool specular you want to turn off the shader tab because that's adds this weird color that's kind of unnecessary we just want to use the highlight only and have everything else kind of disappear and what you get is you get three specular zuv varying opacities and sizes and it feels much more natural and if you're ever doing any metal thing you can use the anisotropic setting and you check this on and you get this really cool like brushed metal I like for buttons or knobs or anything it's really cool but we don't want that obviously because we're doing specular for an eyeball the next thing we want to do is transparency now this gets a little tricky because when you turn transparency on everything disappears completely and in the standard renderer the anti-aliasing through transparency looks really messy so if I go under render settings anti-aliasing I can change this from geometry to best and I can even bump up the samples a little bit and you can try all these different settings and see which one works best for you so that cleans up the anti-aliasing a little bit again there is a clear sphere right here that we're not seeing right now because it is 100% transparent you'll notice even our luminance our little specular has disappeared when that's turned on so what we can do is change our refraction we want the light to bend as it goes through that lens through that glass lens and distort a little bit so water refraction is 1:33 it's a little bit too extreme for what we're doing we don't want the eye to distort the light that much so we're just gonna distort it but one ought to give us a nice little weird edge here so we could tell that something's happening when the camera moves around I also want to turn on an additive and that kind of brings some light back into this lens in addition to sliding this brightness value down we can introduce some of that color from the color channel and then once we have an environment when we turn on reflection reflection will also appear inside of this lens so our reflection we want our standard Fornell fall-off and back to transparency additive adds this really cool light distortion as it goes through so that's pretty much all we have to do for the cornea so the cornea is set so let's create another texture this texture is gonna be for the eyeball and I want to add that to the geometry so let's drag that on to our eyeball down here now I don't want to see the texture on the inside only on the outside so I can select the sphere go to the tag and change the side from both to just the front and now you can see that it's only doing the texture here and not on the inside so this is where I'm gonna get a little crazy in the color channel of the eyeball I'm gonna stack multiple layers of gradations on top of here to get this really cool effect so you might want to start hovering over that pause button I'm gonna start by creating a layer and then inside the layer my base layer is gonna be a gradient and the gradient works from left to right and it goes around so I want to change the orientation I wanted to go from the bottom to top so instead of 2d you I want it to go in the V direction so I'm gonna change all of our gradients as I build them to 2d V from the top another trick here is if you twirl the gradient open you have more control over where these knots go so you're not limited to just eyeballing it you can actually punch in exact numbers and I want exact numbers because I'm gonna use my gradient not only to color the sclera which is the white part of the eyeball but I'm gonna use that same gradation to follow through and wrap around onto my iris and I'm gonna use that all with these control nuts so I can create colors in here you know I can make it blue and that's going to show up here I want the base of my eyeball to be kind of a pinkish color so I'm going to add a little bit of tone in here so the base of the eyeball is gonna be pink it's gonna transition to the edge let's let's just line these lines up right now so if I slide these sliders around and get them kind of close I know that I can make this 83% from from the bottom to the very top of that UV map 83% is that line where that iris is so I can take the blue and start at 84 and I'll get a little bit actually let's leave that at 83 and a half that look pretty good gets rid of that little white lip right there so we're gonna transition from the pink to this white color but I don't want pure white I'm gonna want to add a little bit of a creamy color to it so let's just knock some of the green and the blue out of this and so it's not pure pure white right here I also want to see a little bit more of the pink as it wraps around so if I take this not here and I slide it I can choose which side of that gradation is heavier whether I want the pink to be heavier toward the white or I want the white to be heavier toward the pink so I'm gonna choose to bring that up to around 70 75 percent and that's going to really bring that color up around maybe let's back to 70 so there's a little bit more white in here I was just kind of guessing at that blue let's see let's get a blue that's gonna work under all of the lighting and everything that we do something that's not so cartoony a little more organic something like that so that's our first gradation so the next thing we want to do we kind of want to add those fibers and those the membrane in here that when the iris expands and contracts to let more light in through the pupil there's a bunch of little fibers membrane here we're gonna simulate that with a shader a surface shader I'm actually gonna use the water shader check out what happens here this is really cool the problem is it's going over the entire eyeball and I just want it to be on the iris so what I'm gonna do is I'm going to create a layer mask and that mask is just going to let this texture only show through at this part and mask out the rest so we do that with a gradient and create a gradient put it on the V and I'm gonna move those knots so I want to mask everything out everything that's in black will disappear and everything that's white will show so I'm going to take that not I'm gonna move it to that 83 and take the other not the white I'm going to make it 83 and a half to match the other numbers where the blue was and just like that we have a mask okay so take that turn it into a layer mask and I slide it underneath the water what I want to mask I want to mask that water and just like that it only lets that part show through now I want to change the scale of this it's a little too extreme for this size of the eyeball so I'm gonna go into the water channel now here's something you need to know about the water is it is an automatically animated so by default if you are putting this eye in a scene and you're moving the camera around your iris is going to animate and you don't want that to happen so you want to make sure you turn the frequency off I turn the wind off to now the scale is too large so we want to change the frequency we want more striations in there so I'm going to bump that number up to ten but it's too stretched now so I want the vertical frequency to be a little bit larger so now we've got this really cool organic pattern that's happening in here but what's happening is it's set to normal so you're just seeing the black and white pattern that's going on so we want to change the blending mode of this too to let that blue show through so if we come back over here and we change it from normal to luminance it's gonna let the color underneath show through but it's gonna use the dark and the light value but it's too strong in a hundred so I'm gonna drop it down to 50% so it's a little bit more subtle now we've got this cool looking iris happening here but it's a little too perfect so in the real world there's a little more organic coloring happening so let's add some color flex to this eye to make it look a little more realistic I'm gonna create another shader I'm gonna create another gradient and again I'm gonna put it in the V mode and this time I'm gonna go from black to I'm gonna make it a rusty brown color and in case you're wondering I wrote all these numbers down from my practice so I'm not guessing on your dime because these tutorials are long enough as they are so let's try and speed through as fast as we can so here's a little brown color and now I want to mask this as well so I'm going to create another gradient put it in V mode and I want to slide this up to the 83 where we started the edge but this time instead of pinching the white down I want this fall-off to be part of that the ramp where the brown is going to bleed into the blue but this is a little too perfect so over here we've got this turbulence and we can change this number and it'll add this little noise pattern which is really cool and if you change the scale on it it's gonna make it a little bit more crunchy see if we can move this up a little bit get that to creep in maybe 84 now we're gonna use this as a mask for that Brown that we just made so we change it from normal to layer mask and we slide it under the brown and now you see the brown is blending with the blue what I do want to do I want to move the brown under that that fiber material that we made so it's also gonna be affected by the lights and the darks so it gives it a little bit more variation as well so the brown isn't going over the white and black the white and black is going over the brand now now the next step is at this point I want to add a little bit of a cheat I want to add a fake rim light on here and I'm gonna do that with a fernell layer and Fornell works the same way as it does as a mask when you're using it to to hide your reflection and let your reflection show more on the edges we could do the same in a color channel or a luminance channel with light so it doesn't have to just be used as a mask to block transparency or reflection it can also be used as a texture itself and that's what we're going to do so I'm going to go in here and I'm going to soften the transition just by sliding the not all the way to the white and then I'm going to bring the black point I'm gonna kind of condense the space that it falls off here and I can just put that perfectly in the middle of 50 come back out set it from normal to add and now we've got a little bit of a hint of a room light here and this is driven the phrenology I light in the scene so if I were to put a light behind here you would see that Fornell light up on this side now for the fun part we're gonna add blood vessels in here so we can do that by using the same water shader that we used for the iris under surface water and remember you want to turn off the animation so same set your frequencies to zero and for the size of this I'm gonna go around two and one but I want to reverse the knots because I'm gonna use this as a mask so I'm going to turn black to white and white to black I want to scrunch this all the way over to the side so I'm going to turn this up I'm going to make that black ninety five and that's gonna force the contrast of that wave pattern to resemble these blood vessels like this and we're gonna use this as a mask to reveal the red as it comes through so let's create that red now another gradient in the V and the black end I want solid red but I want to change its position I want to move this all the way up to around 70 and I'm gonna get rid of that not in the middle I just want this to be linear transition from red to white I also want to bring my white down I'm gonna pinch this to that edge that eighty three and a half so that red doesn't spill into my iris at all actually I think if we have this smooth not on it's actually a smoother transition let's leave that smooth not on there so what happens at this point is if we turn the water layer underneath the veins if we turn that into a layer mask it disappears until the layer above gets masked by it and now it's going to mask those veins but what it's doing is its revealing the red to white gradation as it goes through and now that those veins are showing the white onto our iris now instead of having to do another mask to get rid of that the quick solution because we ramped it at the edge of the iris we could just change it to multiply and white disappears and multiply blend mode and that solves our problem without having to do an extra masking now these veins are a little too intense so we're gonna take the opacity of that layer down to around 40% and now we've got our big blood vessels in here so to add further realism we want to have a set of smaller blood vessels in here so we're just going to duplicate the process of what we just did so we're going to create another surface water we're going to make sure that it's not animated and we're gonna change the frequency a lot tighter so we're going to go 8 and then we're gonna change the vertical stretch on that to 4 so we get a much tighter pattern again we want to invert the knots and we're gonna crunch this up again to 95 then we're gonna hop out of here create another gradient in V I'm gonna make our back end red and we're gonna slide this one up to 75 the other one was 70 we're gonna make this one push a little bit deeper in there and we're gonna bring this down to 83 and then this time instead of having this very uniform band around here I'm going to add that turbulence into you into this edge of about 10 and that's just gonna break up that edge a little bit so now when we turn that tighter water pattern into a layer mask and turn this gradient on remember the white showing through we got to change this from normal to multiply the white disappears here and far too intense let's take this down to it like 25% so now we have our large blood vessels and our tiny blood vessels and it's looking pretty cool all right cool so much like we did with the cornea with the Lumis with our specular we're gonna do the same thing here with our eyeball so let's go we're done with our layer stack here let's go to the luminance channel activate it come under effects Loomis come into the Loomis and we want to turn off the shader tab here and we'll give our same specular that we had on the cornea we don't need transparency for the eyeball but we do want reflection currently we have nothing to reflect into the eyeball so let's create an environment right now so let's close our material editor let's turn off our interactive render region and under our environment tab let's create a floor and the floor comes in at 0 0 so we want to drop it and let's take it below the eyeball which is about 1.2 negative and that's gonna give us a floor that the eyeball is going to rest on and now there's something to reflect into the eyeball as well but let's also create something to bring light into the scene and we do that under the environment tab with a sky dome so this puts a big invisible dome over the project and often the horizon if I were to hit render right now you'll see this big gray dome and that's going to cast a solid color of grey into this shot and it can be used with global illumination if I turn that on right now go under effect global illumination and change this to IR and q MC and I'm gonna change this up to high now if I hit render that gray dome is casting light into the scene and now you can see that for now that I'm added on there is showing up in addition to adding light it can also add a material to reflect but since it's a solid gray color that's kind of boring so if we create a new material turn off the color and go into luminance and under under surfaces I can create a checkerboard I could drag that checkerboard onto the sky now the sky is projecting a checkerboard back into the scene not only for light it's using black and white squares for light it's also going to project that as a reflection map but picture dome with just one checkerboard on it with four squares it's a little too daunting so I'm going to double the tiles and just add two and two and now we've got now we've got more checkers in our background back there but I don't want to see those checkerboard anyway so on our sky we're going to go under cinema 4d tags compositing and we're gonna tell cinema to ignore that sky dome so we're gonna turn off scene by camera so visually it's gone but all of the other aspects are still calculated it's still going to use reflections and lighting in global illumination and everything so now if I hit render you don't see the checkerboard in the back but you still see the lighting and you see the reflection in the cornea here because remember we added reflection to that surface as its draws and you'll see the reflection of the checkerboard in the cornea so let's add the reflection on to the eyeball itself now so let's go back into the eyeball let's go to a reflection tab so by default when you turn on reflection it just makes everything a giant mirror ball and we need to dial that back so the standard thing we always want to do is right off the bat we want to add a fern ill and that fern L is going to block out the reflection as the object faces the camera and as the light bends around the edge it's gonna pick up more reflection what I also want to do though I'm gonna add a mask to it because I don't want that reflection to be on the iris itself or I want to knock back the reflection on the iris and if I were to do that with a mask I risk some of the brightness of this reflection showing through so I want to turn all the brightness down 100% so there's no reflection on here at all but then if I had Fornell it brings that reflection back as it creeps around the edge however I want to limit the reflection on the iris that's been the camera around where we can see better so we've got double reflection going on we've got reflection on the cornea and we've also got reflection on the iris so I'm going to use a mask to knock this back so I'm gonna turn our Fornell into a layer come in here create a gradient put the gradient on the V and I don't want to invert the knobs so I want all of this to to show the fernell through the mask so I'm going to put that at our 83 and then our black actually I don't want it to be black 100% black because I don't want it to block it out completely I want it to let some of it show through so I'm gonna change that to a value of 40 and then I'm gonna put that at the 83 and a half point so now what that's doing is it's letting the reflection show a hundred percent all the way up to the IRS and then only forty percent shows through at that point right now it's just the gradation that's allowing the reflection we want to use the gradation as a mask to the Fornell so we're gonna put the gradient under there for now and then we're gonna turn it into a layer mask so now we have our fernell and part of it showing through onto the iris there's a little complicated so feel free to rewind and follow it step by step until it makes sense feeling like our fernell isn't working on the cornea let me go look at that real quick reflection yeah we have got for now on their back to our eyeball reflection I wanted to change this mix strength down to about 95 so it's not full on reflective 100% at the edge here I would also like to add a light into the scene and I can add caustics to that light as well as be a cool effect let's turn off the interactive render region let's close that our material editor and let's zoom out so you can see when I bring a light in here I'm gonna use an area light and it comes in really really large so I'm gonna go under details I want to change that down small to our size of our scene so I'm gonna put 5 centimeters in there and zoom back in and I want to offset this I'm gonna go to coordinates and I'm gonna push this 20 centimeters up into the back and pan around so you can see what I'm doing here I also want to angle the light so it's pointing at the eyeball so I'm gonna change the rotation of that light so it's kind of angling this way I also want to add a shadow to the light because by default lights don't have shadows turned on so we're going to turn on an area shadow so now if I hit render it's going to calculate our global illumination our light and it cast this really cool shadow here I want a little more realistic fall-off from this light so built into cinema under details there is a fall-off and you can change this to physically accurate inverse-square but by default it's set to five hundred centimeters which is much too big for our scene so it's like the light is right up on top of our object when it's that bright so I want to scale this down to 25 centimeters this is more accurate to the scale of our little universe that we're playing in here and then you can see the light kind of falls off around the edge so the other thing I want to do with the light is I want to turn on the caustics now caustics work with reflective materials that a light will bounce off that Tyrael and then that light will then in turn bounce back on to the surface around it or it'll pass through glass and if you've ever held a water glass up to sunlight and you've seen the the water dancing that's a caustic and we can simulate that here with this light however you also need to add caustics to the scene in order for that to work so we come under your effects you add caustics we'll just leave the default settings here come back to the view and interactive render region is always a good way to test to see if something's working and it is but it's too bright see how powerful that is so caustics also has a fall-off so we want to do the inverse square of the caustic fall-off and drop this from the thousand centimetres which is far too big for the scene we'll drop part down to 50 and now we have a little bit of a bounce light it's subtle I'll turn it off but it adds a little bit of magic to the scene you know let's bump up the photons from 10,000 to 100,000 and that'll give us more there you see the light spilling off right there that's pretty cool let me zoom in on that so you can see that light is bouncing off back onto the floor here and it has a really cool effect we also are losing because of the global illumination and the caustics we're losing our contact shadow and we can bring part of that back with ambient occlusion but what I really want to use the ambient occlusion for is here on the eyeball itself where the cornea connects to the iris that is called the limbal ring or the corneal limbus and that's the dark ring that you usually see when you look at photographs of an eyeball so we can simulate that with ambient occlusion so let's come into our render settings again one more time under effect we're gonna add ambient occlusion and at again a scale of our project we need to drop this way down from 100 centimeters I'm gonna drop it all the way down to just a half a centimeter and I'm also gonna cheat I'm gonna I'm gonna pinch the fall-off so this way I can cheat and get a little bit more of the of the black ring right where those two surfaces come together I can force a little bit more black in there and I'm gonna pinch the white as well so the fall-off happens a little bit quicker so now when we come back here watch what happens on the iris is pretty cool as this draws in we now have a little bit of a contact shadow on that edge and it just really helps the realism of the piece so there you have it there's an eyeball you can do some crazy tricks if you want I tried to run the displacement filter on this and get the blood vessels to kind of pop out a little bit it's a really great trick it just takes too much time for the tutorials so I can let you guys experiment on your own with that another thing you can do is probably write an expresso script where you can grab these selection of these rings and you can and maybe build a slider to expand and contract the the pupil if you wanted to let's just take a quick look at that they come under my eyeball let's hide the cornea for right now and ul4 loop mode and I grab this and then I can just transform and squeeze this if you write an expresso you can dilate the pupil that be pretty cool and let's just send this off with a final render while we're talking our way out of this thing here another little quick thing we could do we could drop all these into a null and then copy and paste that and then rotate and render away I know most of us are always scrambling to try and find real source photography and pulling our hair out so it's always nice to learn how to do these little tricks and get most of the way there without having to use any scam photography at all if you can get away with it and you can see this holds up pretty well at a close detail so imagine if this were further back in screen and it wasn't as close-up it'd be pretty cool again the checkerboard reflection was just something to reflect into there you can use any HDRI image you want you don't have to just use the checkerboard so thank you guys again for sitting through another tutorial I hope there was something in here that helps you on a future project and speed up your workflow because remember sometimes it's not about being perfect it's about hitting your deadline if you guys have any suggestions of how this could have been done faster or quicker or differently drop a line I always love hearing from you I'm always learning as well as teaching and we'll roll all the knowledge into the future tutorials and share with everybody so I'll see you guys on the next tutorial bye

Channel: SioPio

Views: 270,603

Keywords: 3D Computer Graphics, Cinema 4D (Brand), Texture Mapping, 3D Modeling (Profession), siopio, 3D, Cinema 4D, C4D, tutorial, eyeball, eye, iris, pupil, cornea, sclera, model, texture, render, procedural, caustics, global illumination

Id: AaOl6D_0iQY

Length: 38min 8sec (2288 seconds)

Published: Thu Jun 13 2013