Cinema 4D Video Tutorial: Realistic Rose

hey everybody this is Matt for premium beat calm and in today's tutorial we're to learn how to model a 3d rose from real-world textures this technique can be used to apply any organic texture to a 3d model so we should have a lot of fun today so anyway the only file you're going to need for today is actually going to be somewhere on this page you can download a folder that should have all the images we'll make use of today as well as the project file so let's just jump into a by pressing f2 on our keyboard to go into our top view here and I'm just going to go in my attribute manager and go down to view settings and in my view settings on the back tab I'm going to click this image window and import this a rose-petal Photoshop file that you can download on this page so once that's imported we'll be able to model a a plane to make this petal shape I'm going to just turn my transparency up a little bit maybe 229 and then in my primitives here I'm going to go and click the plane so on this plane I'm going to just maybe turn up my width so it's a little bit closer to the size of this pedal and also my height till it's roughly the right size it may be position it a little bit down so let's go back into our perspective like view by pressing f1 on your keyboard and we have a lot of polygons going on right here and we really don't need that many so why don't we turn our width segments down to about two and maybe our height segments down to six and what and then I will make this object editable and name this object petal so now let's go back into our top view by pressing f2 on your keyboard and we'll now go into our point selection mode and basically just align these little points roughly around the flower really doesn't have to be perfect just maybe get it a little bit closer than what you need and we'll actually be cutting out the shape of this petal with an alpha matte which is going to be a really cool little trick that I'm sure you'll be able to use for other projects down the road so I'll just basically move these little points in it doesn't have to be perfect like I said you're going to want this to be larger than what you actually need so let's go back into our perspective view now that we've done that and as you can see we have a very perfect flower shape and I'm just kidding so let's go up into our filter here and just turn off our grid because it's kind of in the way for what we're trying to do so now the next step of this video is going to be creating this realistic rose petal material and it's actually really easy we're not going to be using a typical material but we're going to use a UV mapped Photoshop file to get this to align perfectly to this layer so if you guys don't have body pain you V don't worry you can still follow along with this video just by all the downloaded files from that folder but if you do have body paint UV you can just go up into your layout up here and go down to be p UV edit which is body paint UV edit a pretty self-explanatory so now that we have our object right here and selected you can tell what all we're gonna have to do is go up into our paint setup wizard and just click this button and just make sure your petal is checked off and we're going to say next next and finish and it's going to pop up with this thing that says everything has worked great so as you can see we have a window over here that's popped up and I can actually draw on here if I want and that's going to draw for here it's very cool but we knit we don't need to do that today so let's go up into our UV mesh and as you can see we have a new material on our petal that was created by this paint setup and if we go into our layers we just have a gray background layer that's pretty boring so in order to add our texture we're going to need an outline so let's go into our UV mesh drop down here and just to show UV mesh so we can actually see this polygon shape that we made but we still don't have a layer with this shape on here so in order to add a texture we do need this outline so let's go up into our layer drop down here hit just go down to create UV mesh layer and with that selected we're going to get a second layer just like you would in Photoshop that's actually an outline of all the polygons and with that set up we can just go up into our file here and go down to a save texture as right here and just save it as a Photoshop file there's some other files you can work with if you're comfortable but Photoshop is really the easiest for today's video so let's click OK and I'm just going to save this on to my folder on my desktop and I'm going to call this a rose petal texture normal because we're actually going to be making a three variations of this file that will be really helpful for creating a realistic render so let's go back into our standard layout right here and now let's hop into Photoshop and just load this rose petal texture normal that we just created into Photoshop so just one second while it opens and then we'll drop our texture onto here and I'll show you why this is so helpful so I'm going to go ahead and have my texture my rose petal texture that you can download in the folder and just drag this into my Photoshop file and I'll holding alt and shift just scale up my pedal till it's roughly the same size as my polygon it really doesn't have to be perfect so I'll just scale it down a little bit more and we'll call that good so I'm going to click this check mark up here and then just hide these two layers so my UV mesh layer and my background layer and just do command s on my keyboard to save it and then we're going to hop back into cinema 4d and nothing's happened the reason that is is because we have to reload our texture so if I double click this material I'm going to actually call this material petal we can go over into our color channel here and on our texture we'll just go down to reload image and just say yes and as you can see our texture that we just made in Photoshop is now placed on to our petal polygons that we've created in cinema 4d now one of the issues we're having here is if I do command R to do a quick preview you'll notice we have all this checkerboard and it's not a transparent image so we're going to go ahead and fake an alpha matte to cut this out and once again we'll hop back into Photoshop and this is going to be our second variation of this file so let's go ahead and select our rose petal layer actually do shift-command as to save this file as and I want to make sure to save this as a different file name so I'm going to call this one alpha and then with your rose petal layer selected let's go down into our FX and add a color overlay and I'm just going to pick a nice easy white color and that's that's going to cut this down out for us so with that selected let's right click and go down to convert to smart object and then we're going to go ahead and delete our background layer and then on our UV mesh layer let's just go and grab the paint bucket tool and drop up a black texture onto the background that actually did not work so let me go ahead and delete this UV mesh layer and create a new layer and drop that on and now add my black color and that worked a lot better so on your rose petal layer let's go ahead and make this selection a little bit smaller so we're going to get a nice clean cut so I'm going to hold command and click my rose petal layer and then go up into my selection menu and down to my modify and I'm going to go ahead and go to smooth and I'm just going to smooth this out maybe two six pixels and press okay and then I'm going to go up into my selection menu again go down to modify and click contract and on this one I'm also going to just set it to 5 pixels and say ok and it's going to be smaller than what we need and then do command J on your keyboard and it's going to duplicate or cut out that selection we had and I can just delete this first rose-petal layer so let's go ahead and save this and hop back into cinema 4d and now what we can do is just go into our petal material and go down into your alpha channel right here and just select that and what we're going to do is load the new alpha texture in here so let's go in grab our rose-petal alpha channel and our writer image and drop it on and as you can see it's actually cut out our texture and we no longer are seeing those horrible little outlines so this is looking pretty cool but one of the things you'll notice if i zoom in is it still looks very much like a 2d image and what's kind of nice about cinema 4d is you can actually add a bump map to get a realistic looking texture on your material so one of the things I like to do is actually go into my Photoshop one more time and actually open the last file we just worked with ah where would this be here open rescind the normal texture and let's do shift command s one more time and we're just going to call this one bump I named it wrong Bummel but uh this should still work great so let's grab our rose-petal layer and right-click it and go down to convert to smart object and I will go up into our image and adjustments oh sorry also do a right-click rasterize layer' and then go up to an image down to a desaturate and just select this so it's a grayscale image and then we're going to go up one more time into adjustments and turn on our curves layer our effects and we're just going to boost this up until you get some nice contrast between your uh your blacks and your whites of this image so I'm going to say okay that's looking nice and then I'll delete these other two layers because we really don't need them anymore so I'm going to do command s on my keyboard and then hop back into cinema and we're all done with Photoshop for today if you go ahead and load this image into your bump map so the rose-petal Bummel texture I'm going to say open what this is going to do is actually add the whites and blacks are actually going to bump out our image so I don't know if you can tell on this image right here but it's actually bumpy now so if I turn off my bump map we're gonna have a very boring 2d layer like these little spots here or very boring but if I turn on my bump map they're gonna actually look like they're popping out a little bit you get a little bit of a shadow and you can really turn this up if you want and you should be noticing a different difference through this screencast but that's a nice way to kind of cheat nice organic looks so that's looking nice I'm going to just zoom out real quick and oh sorry actually let's jump back into our petal texture and just turn on our reflection layer just like you would for a realistic flower with like do all over it I'm going to turn this to maybe 16 you should be nice and on our transparency let's also turn that on and just turn it down to maybe nine so it's slightly transparent and a little bit see-through just like a real flower petal so this is looking very nice but the video is hardly done and we're going to get into the cool stuff right now so I originally tried to deform this Rose by using some deformers and I just wasn't getting the look I wanted so I ended up going a little bit a different route and using an IKE a chain two I'll generate a little bit better movement for me so let's go ahead and grab our petal layer and go into our polygon mode and do command a on your keyboard to select all your polygons right click and go down to subdivide right click one more time and go to subdivide so we have more than enough polygons for us to work with and we'll get some better deformation so now let's go back into our top view by pressing f2 on your keyboard and go into your attribute manager and go down to mode view settings select your back and we're just going to go and unclick the show picture because we don't really need it anymore so I'm going to save this right now by doing command S and we're going to now be jumping into the second part of the video where we're going to make a I catch aim for realistic deformation and rig up this pedal I'll see you guys there I hope you guys are having fun with the video so far in this section we're going to set up our I catch Eanes to get some nice petal bends so let's go ahead and go up into our character menu and just hold this little bar the top and let go and it's going to pop it out and that's going to be helpful and them also do the same thing for our where what do we need here oh yeah that's all we need for right now actually so let's go into our top view by pressing f2 on your keyboard and let's select the joint tool from this menu over here so now that we have that selected make sure you have a root null made and just select that and then we're going to press P on our keyboard to bring up our snapping or you can just go over here and click this magnet and let's hold command interest or drag out with the until it snaps to a polygon and I'm going to do about every three polygons apart and yeah it doesn't have to be perfect but just keep dragging out like this until it just snaps the middle and we want a chain going right down the middle of our pedal so as you can see we have a root null and then all the joints in a row and this looks really nice so one more thing we're going to want to do is just select this option over here and pop out this menu just by holding this top bar and that's also going to be something we'll use in just a second so now that we have that set up we need to create some extra IQA chains on the side so we can kind of bend the sides of this flower in a realistic manner so let's go ahead and find our middle joint and for me it looks like it's going to be joint number four the one right here and I've selected it so let's select our joint tool and make sure our root null is no longer selected so we're actually going to build off this joint right here so I'm going to check that and holding command I'm just going to snap these joints to the polygons right here and that looks very nice so now we have one side of our petal let's get the other side so I'm going to go up and select my joint four which is this middle joint again and holding command I'm going to drag out and just grab these polygons one more time perfect so that's all set up let's jump into our perspective new view by pressing f1 on your keyboard and as you can see we now have an X of three different I catch Eanes over the top of our petal so that looks nice let's check something by grabbing all of our polygons here and I already have my normals turn on if you go up into your options you can select this option here called normals which shows you the orientation of these layers which is going to be very helpful and very important for this next step so with that all setup what we need to do is create I catch Eanes now luckily for us there is a command that kind of automates it for us called create a chain and all you have to do is grab your first point of the chain and your last point so for my first main one it's going to go from this joint all the way down to this joint and the other two I Ches are nested from the middle of this main ika chain so let's grab our first joint and holding command grab the end joint which for me is joint eight and we're just going to click this option called create ika chain so a tag is added and also a joint goal and I'm going to go ahead and call the school main I K so let's unclick are snapping option over here and now when I move my I catch Ain we're going to get a bend of our joints which looks cool so I did command Z to hop back into place because we don't really need that so let's do one more thing and just create a new null object and drop this down just like this so somewhere under your main joint layer and I'm going to call this one a main Bend so for this one let's go into our I can't here and we're going to drop this main Bend into our pole vector object and just change the access to Y and what this is going to do is tell the joint layer to just bend towards this pull vector so now when I move my I catch a nits going to bend towards that pull vector we just created which looks very nice so let's go ahead and set up an IKE a chain on these other two sides so for this one we're going to want to build the I catch a knot off the middle of this one but off these two side points so it's not quite as long an IKE a chain so instead of going off joint four which is the middle we're going to want to go off joint five so I'm going to select joint five and then the end of it which is join eight of this little chain and just click this option create ika chain so once again we get a tag that's generated and also a null object that's going to be a goal so I'm going to call this one right side or right I K would probably work and then what I'm going to do is I just hold command and drag out my main Bend and I'm going to call this a right Bend and I'm going to press f2 to go into my top view and just holding shift I'm going to drag this out to one hundred and seventy centimeters just so it's about in the middle of this ika chain and then press f1 to go back to find perspective view so I'm going to click this ika chain for this feature right here of this new on Tighe we just made and drop my right Bend layer into my pull vector object and then change my access to Y so what this is going to do is now bend our our right eye K towards that null object just like this which is perfect so now let's go and create our last ika chain for this other side over here so let's grab our joint number five and holding command select joint number eight which is the end of that chain and click create ika chain we're just going to pop up the tag just like we've done a couple times I'm going to go ahead and name this null left eye k and then let's hop back into our top view by pressing f2 on your keyboard and let's duplicate our main Bend and I'm going to call this one left Bend and just holding shift drag this out 170 centimeters just like we did for the other side press f1 to go back into our perspective view and now select your ika chain for your left side and just drop your left Bend into your pull vector object and your access just make Y so this is all looking pretty good let's test this side over here so I'm going to go ahead and actually grab my main eye K and just drag it up with my left and right eye K so holding shift select all of those and let's go into our display mode and set this to cube and then turn up our radius just so we can see it a little bit better and change our orientation to XZ just so it's nice and visible and we'll be able to select them very easily so this all looks good let's test this off side over here and make sure it's working well so as you can see it's bending properly towards its pull vector and that works great so one thing we're going to want to check right now is just grab your joints all your joints and we're going to check our normals are aligned properly all we want to do is make sure that all of our normals are facing the same direction so all my greens are facing properly and if they're not you could just click this align feature to fix that so just make sure they're all facing the same way in my case it worked out nicely and we don't have any errors so once again your normals are turned on in your options tap drop-down right here so this is all set up for us to bind our pedal to the Saudis ika chains we made and now we're going to do this is you grab all your joints - all the endpoints of your joints so for this first I K it's going to be the end joint eight and for the middle one it's going to be joint eight and also for the smaller one join eight and then still holding command let's select our petal layer right here and we're going to do is select this option called bind so when we click this what it's going to do is drop all of our joints into a weight tag onto our petal as well as a skin so now we're going to be able to do I'll just minimize these joints right here now when I move my null objects from iik Jane it's going to bend the flower and obviously this doesn't look perfect right now but we're going to drop this into a hypernurbs or for the newer versions a subdivision surface that's going to smooth everything out and we'll get some nice organic looks to everything so one more thing we're going to want to do at this point is to grab our left eye Kay and go into our coordinates and as you can see we have some numbers right here let's go ahead and freeze this transformation by clicking freeze all so now what happens is if I move my object just to test and see how everything is working I can just click this option here called reset PSR and it's going to snap back to all the zero coordinates so let's go ahead and grab our right eye K and do the same thing so go into your coordinates and go down to freeze all and that's just going to zero everything out so once again I can test it and go and reset PSR top back and then we'll do this up for our main eye K as well so just select freeze all and we're in great shape in the next section we're going to go ahead and assemble the rose I'll see you guys there okay so now we're on to the last section of creating this realistic rose and what we're going to do is now actually use our controllers that we've rigged up to deform our petal in a realistic way so the first thing we're going to want to do is grab our left eye K and our right eye K and actually make these a child of our main eye kano which is this one up here so now when I move this now our entire chain is going to bend properly and as you can see we're starting to get some weird deformation but this is going to be okay and it's actually going to make our our petal look a lot better as we get towards the final stages so as you can see in the beat the front of my rose I have this really awful Bend in here and what I can do is grab my left and right I K and still change these individually so I'm just going to scale them up a little bit and soften out this Bend and now we can go and actually grab our left Bend and our right Bend controller and just move these back to once again soften up that angle um and that's why they're so helpful to have so I do a quick preview we're going to see that we're starting to get a nice looking petal and we're actually getting some creases in here that what you wouldn't get if you used a typical deformer so I'm just going to make sure this is looking good and I am actually pretty happy with this rose shape or this petal shape it's going to all turn into what looks good for you and now we can do is actually go and grab a subdivision surface right up here or in other versions of cinema 4d it would be called a hypernurbs and go ahead and drop our petal into our subdivision surface to subdivide all of our polygons and smooth out everything so now as you can see we're starting to get some nice specular glows and highlights in here and the pedal is looking a lot more natural once again with no light other than the default light in our scene so now we can do is actually hide all this stuff we don't need if you would like to you can go ahead and animate these ika controllers in a way to make the petal look like it's opening or the flower look like it's opening now you can just animate those and this video is just going to cover the actual photo realistic or render but you're going to be all set up to actually animate this as well so let's go ahead and a holding alt double click these traffic signals next to our sorry you're going to double click until they turn all red and just hide everything in the scene that we don't need to see um so the only thing I really want to see is this petal I'm going to call it smooth petal and now we can do is just go into our display over here and change it to turn off our lines just so we get the Garron shading just so we can just see our texture and really focus on how the flower is looking so let's go ahead and grab all of our objects here and do G on your keyboard to place them in a null and might go ahead and call this null pedal so now what I can do is actually move my access point of my pedal so it makes a little bit more sense with our scene so if I go and grab my enable access modification tool over here and just turn it on I'll be able to go ahead and move my point like this and if you want you can hop into your top view and just really line it up at the end of your pedal just like this and then hop back into your perspective and it's looking pretty good so I can just turn off my enable access modification tool and then just select my pedal go to my coordinates and just zero out everything and this is going to place it in the middle of our scene perfectly so this is going to be nice as we add our cloner and we'll keep your workspace much cleaner so let's go into our mograph module and grab a cloner and simply drop your pedal into your cloner as a child and we're going to get this linear clone on as a default and if we go ahead and change our mode to a radial array we can change our plane to XZ so it lines up with our viewport and as you can see we have a very basic looking flower shape already started and we're going to go ahead and tweak some more settings to really get this looking nice one thing I'm not liking is we're actually getting a lot of a specular highlights on our petals so let's go into our petal settings here and just change a couple things the first one let's actually just turn off our specular so we get a little bit more natural glow once we had our lights it's going to look better and this looks a lot less cheesy and let's go into our transparency settings and actually turn this up a little bit as well I'm going to turn my duh maybe 25 or something so it's a little bit opaque just like a real flower petal would be in our reflection let's go ahead and turn this down to maybe eight so it's not quite as bright in a little bit more organic and natural looking so when our cloner settings let's go ahead and make some more petals by turning our count up I'm going to turn mine up to about 15 and as you can see we're starting to get a lot of petals in this scene and if we change our end angle the revolutions that it'll take for all these clones to be made if we turn this up we're going to get more spins on of our petals so I'm going to go ahead and turn mine up to maybe nine ten for now maybe a little bit farther I'm going to do 952 just so it's kind of evenly spaced and now the trick of this is if you go to your mograph effector and grab a step factor we're going to be able to tell each of the petals to change in the order they were created like each one would change a little bit more than the previous one so if we go and turn off our scale we'll really be able to see what's happening let's go and change our position so each clone will consecutively get a little bit lower down so if you turn on your position check box and just make it the Y property down to maybe like - twenty-nine each clone is going to be a little bit lower and then we can go into our rotation property and just change our pitch a little bit so it kind of opens up at a different table a little bit more each time and as you can see we're already starting to get a very nice look and it looks a little bit more organic so as you can see we have some some petals that are intersecting each other and you can either mess around with your scale properties in our your rotation properties until you find something you're happy with everyone's going to have a little bit different numbers just from where you ended up placing your I key controllers so one thing you can also do is go into your scale and turn this on and turn off your uniform scale if you don't like it looking as big like this and just go ahead and tweak some of these properties just a little bit more just to give it a little bit of a different look so just turn them up a little bit all all minor about minus 0.15 bigger or smaller or whatever and it looks a lot better so now we can actually go into our clone room and you can mess around with your end angle a little bit more until you get less petal intersections and you really have that look you want so once again this is going to be what ends up looking good to you in and the style you are going for and then you can also turn your offset on a little bit and your offset variation a little bit for even more natural little movements and I'm not going to my step effector and try to tweak this just a little bit more and let's see maybe make it a little bit lower too so I'm going to call this good and as you can see it's looking pretty decent so this is going to be the first step and if we grab all of our pedals here and do alt G one more time to place them in a null I'm going to call this a rose layer one now we can do is create another cloner and simply nest our Rose layer one into that cloner and this is going to create a linear clone stack of our petals and why this is helpful is because I can actually just go ahead and say each step is going to be about 65% smaller than the previous step and then a little bit higher and so what this is going to do is create a nice stack of flowers that will nest inside of each other and then I can go ahead and just change my each property to kind of spin it around and get a nice organic look and maybe nest this down a little bit more and as you can see we already started to have a very nice looking flower effect going for us so let me go ahead and name this cloner rose full and now we're going to set up the lights of our scene to really get this animation or this render to come together so I'm going to click a camera and right click my camera go to cinema 4d tags and click the protection tag so this way when I'm inside my camera I'm not going to be able to change my angle no matter how hard I try so always have the same angle and when you're setting up lights for a render that's very helpful so I'm going to click out and now I can come out of my camera and let's start by just creating a simple light and we're going to make this type on aerial light and the shadow also an area shadow let's lift it up above our flower a little bit and simply rotate it so the blue arrow is facing towards the flower at 90 degrees so now what we're going to do is kind of move it back a little bit and tilt it a little bit as well and you just kind of want to angle to angle it a little bit down towards your flower maybe even pull it back a little bit more and just think of like maybe where the Sun would be coming down on this pedal so if you go into your color settings I'm going to just make a slightly blue tone so kind of like the sky and say okay and let's go into our details here and go down to our fall-off properties and change this to inverse-square physically accurate which is the fall-off distance of our light so if we go into our radius and decay and just turn this up you'll see that our flower is affected as our radius decay gets larger so basically nestled it about halfway through our flower to start bringing in some tones and if I hop back into my camera here let me just save this as a full flower just make sure we're going well if I do a quick preview here you're going to notice that the render is going to start to look nice and we're gonna have some shadows in here and when we add another light in the front it's really all going to come together so this is going to be a dramatic render um a dramatic render today and we have this nice streak of light coming right over a flower which looks really nice so let's go ahead and create one more light and what we're going to do is simply call this first one maybe like skylight and we'll just duplicate it holding command and I'm going to call this a duplicate fill light and we're going to place this light in front of our flower so let's hop out of our camera by clicking this little square and move our fill light we're just going to rotate it and once again keep the blue arrow facing at the flower and kind of place this a little bit down towards the floor and we're going to try to kill some of those shadows we just created but with a different color so let's go into our fill light and change our general properties maybe over to a kind of orangish yellow um maybe even in the beige area just to kind of simulate some kind of Sun and this is going to soften up our scene so if we go back into our camera you'll notice that some of the shadows aren't as harsh anymore and it's not going to look a lot nicer and a lot more organic so as this is coming together it should start to look pretty nice and we can go into our render settings and tweak a couple more settings to really get this to come together so I like this whole dramatic look the really dark shadows and end up nice bright highlights you can go ahead and add more light to the scene or position it but these settings will work great for you and really help your render come together so I hope you guys have had fun with this video so far once again this is brought to you by premium beat comm and now what we can do is actually go into our render settings and in your effects and presets or your effects so you can go and grab an ambient occlusion and the default settings just going to turn it on but this is going to create nice subtle shadows between your layers that'll really start to help so one more thing I'd like to do for the scene is maybe add one more light and with this one I'm just going to duplicate our fill light and I'm going to call this duplicate a bottom glow I guess and what I'll do is just position this once again with a blue arrow facing towards our flower just beneath the flower actually and maybe go into my bottom glow and actually just make this a pure white and then turn my intensity down just so it's very subtle but helps brighten up those bottom shadows that were very harsh so I'm going to keep mine 235 and all we can do is actually add one more element to the scene to get it all to come together if we go up into our light settings and grab a spotlight we're going to go ahead and move this and make it so it's rotated 90 degrees and facing down towards the floor and we can go ahead and lift this up and go into our light settings and I'm going to call this ambient streak so on our ambient streak if you go into your project settings we can tell the light to actually exclude an object we don't want this light to affect our scene because I was happy with everything else so if I drop my Rose full clone into my exclude project property for my ambient streak it's going to tell us in a cinema 4d is going to tell this light to not affect my flower which is going to be perfect so let's position this light roughly behind where the camera is looking and go into our general tab and change our visible light on to volumetric so that means it's going to be visible to the camera and we'll turn our intensity down to maybe 43 or so and in our details let's turn our outer angle or the width of our little circle at the end down a little bit more so it's it's a little bit smaller like a streak to 13 and if we go into our visibility we can change our outer distance up quite a bit to maybe 2,000 something would probably be fine and if we go back into our camera settings let's just go ahead and position this a little bit closer to the camera so we can see it if we go back into our camera settings we're now going to have a nice streak coming down by our flower that's going to look really nice so I might actually go into my details one more time or my visibility and just really crank this outer distance up so it's a lot longer so now when I do a quick preview not only will we have our ambient occlusion playing into the scene we'll also have this really nice moody streak in the background that won't affect our flower but will add a little bit more atmosphere to our scene as you're starting to see anyway this was a matte format jhulka for premium beat.com we have some more cinema 4d tutorials coming your way and i hope you guys had a lot of fun with this video and also learned a lot along the way so in today's video we learned about using realistic textures from Photoshop to map onto objects in cinema 4d we learned how to use an IKE a chain for realistic petal deformation as well as set up a nice moody render to create a realistic rose and there you go so this is not quite a final render but you'll start to see how the scene can come together so feel free to download the project files and take a look for yourself how everything came together somewhere on this page anyway thanks a lot for checking out the video I'll talk to you guys later you

Channel: PremiumBeat by Shutterstock

Views: 53,478

Keywords: cinema 4d, video tutorial, c4d, motion design, animation, 3d, maxon

Id: ly2o4EHq1kg

Length: 34min 31sec (2071 seconds)

Published: Tue Feb 03 2015