Learn To Model In Cinema 4D - Model Light And Add Glass Texture In Cinema 4D

in this video you're going to learn how to model texture and light a teacup inside a cinema 4d this will be a fun one hey everybody its Nick again from grayscale guerrilla helping you make better renders in less time now before we get started today I wanted to remind you please subscribe to our YouTube channel we're posting a lot of new stuff on our YouTube channel we'd love to make sure that you get it also check out our intro to cinema 4d series if you haven't already just check the comments in the description below all the links will be there alright let's get into today's video it's a recording from and asked GSG and what that is it's a video series we have where people ask live questions all about how to make stuff in cinema 4d now this question came to us from Mario who helps us a lot on the chat and he was wondering how to make an image that looks like this an image that's a teacup that has glass that has liquid inside of it that has nice reflections and so Chris and I break down from start to finish how to model texture and all the reflections and lighting to the scene to make this beautiful image now if you've always wanted to learn how to make really good looking glass transparent effects liquids inside a semaphore tea you do not want to miss this tutorial and now let's just get straight to it let's cut to the clip from this ask GSG and you can start to model along with us enjoy it hi everybody I'm Chris MIT here's Nick Campbell welcome to ask GSG we've got a question from the chat from Mario he gave us a cool link to this 3d teacup but it's just the beautiful illustration who made this peter grom uh really cool so I'm gonna get to do a tiny little bit of modeling and then Nick's gonna have to spend a whole bunch of time doing textures and lighting and backgrounds and hgr and all that so yeah I see some depth of field friends so he's got he's got the fun job but let's go ahead and try and model this actually this is pretty straightforward why don't we try and make it as similar as possible as far as the cup is concerned there's some really cool details here we don't get to do modeling too often so why don't we go ahead and start with doing some lathes I'm going to click my middle mouse button look at this from a side view which is always a good idea let's go ahead and model out the basics of our cup I like using the bezzie a spline so let's see what should our cup look like I'm going to start on the inside of the cup we're going to get a nice smooth curve heading upward now if I hold down the shift key I can actually break my handle and I can pull that way down and I did that because I want to be able to oh and I can hit alt I never remember alt D if you get all D you can hide your axis and you see it was getting in my way here like I wanted to click right there but I couldn't because my axes in the way alt D so remember that one so now I can click and drag down and I can see I make a nice tiny sharp angle there and I can hold down shift and drag it really long again and so cool now we can go down to this lower part of the cup I have to adjust this a little bit but that's fine and now I think we might even want to give this a like a little bit of a rim so I'm going to pull these down these definitely going to need a little bit of adjusting but there we go that's not too bad I can grab these two points and actually we got to do them individually grab this one 0 it out grab that one zeroed out we want everything right at the center now this was a weird little oh I need my access back so I hit alt D again I can pull this over and up a little bit so we get this little nubby foot looking correct I'm gonna hit our for rotate and spin that up a little bit hit T for scale scale the point down I'm just gonna get this cup to add a little bit more even thickness all the way along it when I grab this point start shrinking it down that that went a long way to evening that out this is nowhere near tall enough so I pull this uh pull that up maybe get this one T for scale pulldown grab this one T for scale pull out now we you know the more variation there isn't this thickness the weirder the refractions going to be but could could be good could be bad but that doesn't seem too bad there for the cup at the same time why don't we just go ahead and make the sauce respond as well so we don't have to keep changing your angle so I'm going to go ahead and go to busy a again actually click off the object let's make sure we're drawing a new one and let's just draw the saucer so I'm going to do very similar things hide my access draw out the first point draw out the second let's look at that lip looks like that we get nice little curves upward and then goes down a little bit and then goes way upward and then goes down a little bit and then we're going to go get this big swooping Ark out here maybe nice curve I'm probably gonna be adjusting those as well let's go ahead and pull this one out a little bit and then I think it's gonna be a similar thing down here we're going to go ahead and just let the swoop past and then let's get the another little foot going here there we go that should do that zero these out again we need those right zeroed out perfectly I'm gonna zoom and let's maybe just make these a little bit smoother nice little bump there this one should be rotated art get my axis back I'll 2d let's flatten that out and I get this nice smooth arc there those other ones are working pretty well this is working I think we might want to flatten that out just a little bit their thickness isn't too bad I'm gonna grab both these points maybe rotate them down a little and maybe pull them out a little we might need to do some adjusting on these once we actually can see this as a model but I think that's actually working pretty well all right so now what do we do I'm going to hit my middle mouse button go back to our 3d view and now we need to get some actual geometry out of these guys so we get to use the lathe object so I'm going to just copy and paste that we have two of them drop in one object drop in the other object and there we go we've got our basic geometry going the cups pretty good the saucer is definitely a little big I'm going to go ahead and grab scale go to model my model should be centered correctly there so I can just scale this whole thing down um the problem with that is your little nubs are in scale but the it's just the wings that are too big yeah so we're gonna go ahead and grab these guys pull it down I think this needs to go down and out I think it's a smaller toward the cup actually the whole thing is well I want to make a couple little wider as well but yeah let's let it go we can even do this from the 3d view I just have to make sure I don't pull them forward or backwards by accident and these little little nubs need to come out as well we want to see that detail perfect so I'm going to scale those down a little because they're a little big and I'll pull them out it's a little hard to see what I'm looking at here when I have the lathe on itself so I can turn that off pull these out rotate down I think the basic idea is like this little nub should be oh just a little bit big then the foot of the cup so actually gets trapped in there properly so that should work alright lay off the air it was great and we pulled that out maybe scale that went up a little bit let's see how that looks yeah there we go a little bit more of a saucer thing going and let's grab the cup and just do quick adjustment on there I think I actually might want to use a knife tool hit K for knife I've got my spine selected I just drew two new points right here and I go in like that gave me the extra detail to be able to shape this a little bit better I've missed my second point I wanna make sure I kind of maintain this distance back to my 3d view so we can kind of visibly do this that's working pretty well that's not bad we got this arc is a little sharp there but we actually go into our lathe and we have a lot of control over the way our geometries working and for this model it's we are going to want more segments around so we can keep on increasing this and is going to make our geometry smoother I'm gonna go to something like 42 and then we can control how our points are distributed along the edges we can actually have a lot control over that by going to something like uniform and now we wring it really smooth even subdivisions all the way around might be a good idea for this this is it pry isn't too important but Nixa gonna be spending a lot of time so let's make the model look pretty I'm going to take these little feet and I'm going to maybe pull those out a little bit really shouldn't change the shape those Saucer it's just giving the base a little bit bigger I would say thin it out a little bit too just so that the saucer is a little more fragile sure so we're gonna grab all the top points actually I wanted the bottom point so I'm just going to I to invert my selection and I can just pull these guys up and now let's try and maintain a little bit of the thickness you see the thickness right there let's try and match that on this bit just by pulling those a little bit closer so you get the kind of a little bit more dinky thing going and I would say I think to Chris that the Cup might be a little bit more fragile as well yeah this is pretty thick right now so we can fix the cup really easily by just grabbing we've only got two points on this top part so it should be really straightforward of pulling those two points we do have three grab that third one pull these down and now that kind of thinned out everything pretty well I like to do is grab this one and thin it out just a little bit more looks like our arcs are getting really important here so we got to be careful about the way our splines are lined up and the different thicknesses are actually gonna have a big effect on our refraction so this is actually pretty important that's look pretty good though a little more a little more fragile a little more even now we actually what I might want to do just for the cuz we get the handle in there I'm actually going to drop our subdivisions down again on our uniform like so on our individual spawns I go and kind of decrease this a little bit and we're going to end up putting this in the hypernurb when I guess we need enough I want to do the handle really clean so I'm actually going to just go to our cup which I'm going to put on top because it cups on top of the saucer and I want less subdivisions because I kind of want that to be nearly square I mean if I went down the one that'd be really good but now we're really losing our detail so this is kind of a tough call here um because once once we hypernurb things it gets really really important looks I hit undo too many times so sorry getting a little bogged down here but let's go ahead and grab that eventually we'll be point this hypernurb so let's make sure that still looks good there and it seems to work pretty well our subdivisions are pretty good there so now what I use do is to make a copy because I might not want that anymore I'm gonna put it into a null and just hide the null and usually even call it dead so if we need to go back to that we can but I'm going to go ahead make our lathe editable and now I want to go to one of our sides and one of these should be pretty even we're going to do this one so right here you see the X is right on this line so I'm going to grab that one we're going to grab a couple of these Poly's let's see if that's pretty good that's not bad so this going to be our handle there and I'm gonna hit the letter D for extrude and I'm gonna go ahead and extrude these guys out and there's a couple things we do we put sweep we can merge all these really well we just wanted it really quick so I'm gonna grab these do those extrudes let's do it one more quick extrude outward and I'm just going to once again scale these down extrude it twice I'll make sure I don't do that do the whole time if you accidentally click twice you can get to extrudes like a really tiny one on top of the other but anyway I'm just going to kind of rotate these guys and shrink them a little bit to get them into position to be curving around this guy hit our for rotate scale it down move it over and cool now we got the basics of the hand like just grab all those clusters hit the letter B bridge from that corner to this corner boom those get linked up we might want to add one last subdivision in between these guys I'm going to go to edge mode I'm going to turn off my visible only so I can grab all the edges all the way around MF is a shortcut for edge cut I'm going to say apply it gives us one little extra cut there I'm going to regrab the selection deselect deselect and now I can kind of complete our little arc right there the one last thing I noticed was our normals are converted so I'm going to select all my polygons hit you are for invert normals and now it's going to straighten those back out again and now once this guy is in the hypernurb we should get a nice nice kind of clean arc on our cup panel there we might even you know take that split second and kind of have it get that little arc upward I'm gonna grab that deselect deselect we can go pinky out yeah oh yeah so yeah it's working pretty well I mean I guess the that's a little thick we could we could thin that out just by doing like a loop selection loop t4 scale scale in on the blue grow scale in we'd even go over here we can't go too far because when I start changing the shape of the cup but concerning this would have been crafted by somebody like you can actually get a little bit that bulge in fact if we were going way out with you maybe you take something like that and pull it out like just because there be those imperfections but let's not worry about doing that and because these are double thick I almost if we hit the iron we can probably if IMG it's the iron tool now what's happening is it's really kind of squaring these out instead of being round because of the number of subdivisions I had to have two segments per so if I were to kind of do this ironing I can shrink it down and you see it starts rounding out instead of being so so sharp if we do that a couple times it's gonna get pretty smooth and I should be able to see for scale scale back up again to counter it maybe pull it back up again to counter that now those are a little bit rounder yeah that's kind of transitions back into the square which we could spend more time cleaning up but we've already spent enough time on the modeling here I think um any one of these we grab and scale and just tweaking tweaking tweak tweak forever if we wanted to but uh that's looking pretty good yeah that looks pretty smooth we got two subdivisions on that I'm going to leave it that because that's quite a bit I'm actually going to make a second a subdivision service I'm gonna just subdivide by one and we're gonna throw this the saucer into it so it's going to subdivide more and they see we have relatively even count on both of those so they should be both pretty much equally smooth ah make me a liquid to Chris oh yeah that is a good idea and let's make sure our cup and saucer are pretty much touching but not intersecting because touching air right about there and of course we need the liquid which I completely forgot about but we should be look at that pretty easily by grabbing our this cup actually we can go back and grab the original lathe which is I'm glad I'm glad I kept that copy because now we are going back to it gonna pull it out and now we get this liquid really easily I'm going to go to the side view in fact we don't need to see any of these guys for a second so now all we've got is our cup but I'm going to go ahead and grab just that first point the second point and the third point invert delete everything else and now all we have is this cutoff right here and if I were to do something like use the knife tool we don't want all the way full house how much pretty full not all the way let's go to right around there I can delete that point and that should pretty much fill the liquid now I've heard I think that they said this officially is you want liquids to like intersect your glass slightly so what we're going to do is just pull this down a little bit and I'm gonna grab these two points here I'm gonna pull them just a little bit over just a couple ticks there and even scale that up just a little bit to get their curve let's go ahead and check out though that's a saucer I should name these so this one's the cup the bump is a book double liquid oh yeah if we look at our cup then we should see that this is intersecting the edge all the way around just a little bit oh should be Oh is it not gonna yeah it's not gonna close because I need I need that point as well so we go up to here but there's no cap so we actually need a another point there so I'm actually gonna let's say I think the easiest way to do we just do a tiny little knife right there grab that guy zero it out and now it's pulling the centre and now we actually can have a little bit control over like the way this is uh curving cuz you know how like liquid kiss bro yep exactly there we get that little curve in there and then we get the surface tension so this actually is going to curve up that little bit let's level it down but that I mean we could level it off we can have it you go down there but I mean I think maybe just up a little bit there so you get a little bit of a curve to it so and we can make stick to the sides - oh but right now you actually you see that the spline looks really good but the actual geometry is cutting off really hard right there so we could go back to our spline and we can start cranking up our subdivisions until we start getting that curve back in there let's see okay so there's that we get the nice curve I mean honestly I almost want to drop that back down and let's just throw that guy in the hypernurb as well get super smooth nice so yeah there we go that I let's make sure the center point is good which it is and that's why I kept throwing everything out like because I've got this point I said be at 0 on X like it is exactly it's their own X so anyway that should be your liquid there's your cup there's your saucer let's get the handle and there it is and there's a bad one so I'm gonna go ahead and save this as Cup and save it as cup to you so you can take over oh gosh all right now you got me sweating what I think I should have done is went and turned my computer on to rector with team render hey Chris is Nick's Mac Mini um yeah so here's the here's the this machine is is four cores so is your if that works Chris I just want to see so let's just go ahead and start doing some tests I may have to run out and turn on my machine so I'm going to create the same material for the cup in the saucer and a different material for the the liquid I'm going to make the liquid just literally illuminant just color to start seeing some refractions stuff like that in our in our glass for our glass texture we're going to turn off color although all the way we're going to turn on transparency we're going to pull back our brightness on our transparency just a little and we're going to add some refraction I think glass is like 1.3 or is it three it's one point five two five two there you go thank you Chris the refractive index of glass is right there and we hit render and now our glasses is clear we have all the specular crap that we don't want right now we want to turn off our default light and hit render and just use the glass and it's it's like luminance t right here to start to see what we're up to now let's I wouldn't drink that don't you think you'd be like a superhero or something now here's how I would approach it uh this whole thing you can see there's you know lights and daylight stuff around it so the first thing we want to do is make our table so we can make our plane and subjects if you want to scale whole thing down throw in a null in scale there actually that will help with our depth of field as well when we get there so we can bring all this you're saying in here and then I could scale this way down make it cup sized I may have to bring it that back up land for a plane so let's go ahead do that to take it that's I might do it if you let something go down like that when it's transparent you can get some weird effects you can see through the floor at that point so you don't want it to intersect but let's create another material let's just make it white and let's talk about how this is shot right so if this is a photo it looks like it might be a it says teacup 3d so you know we had we see that as 3d but if this was a photo we would have used a more zoomed in lens and we know that because the teacup here is almost exactly the same size as the teacup behind it so anytime you see less parallax and less distance scale between two objects that you know are in front of each other you'll know that you're a more zoomed in lens so in that case we can grab our camera and do something more like 100 millimeters or something like that so let's go to 100 and let's turn our camera on you can see we zoom way in but now we can pull out and kind of set up this the shot here that's kind of like half way kind of seeing all parts of it so let's also set up our output so that we're not rendering too many pixels here so that we could just get real basically down to it I know we're going to use the physical renderer because we're going to use a lot of reflectance and new stuff like that so let's just go ahead and render I'm going to set this to a 100% and we're just going to check our frames here and we see what we get so already we're getting some nice transparent effects here with our with our liquid our glasses looking nice but obviously we have nothing around the scene so this is where we could grab HDRI studio is where i would start with just some basic studio lighting and we're going to bring this into our cup scene I'm just going to copy and paste that rig right in we could probably use the floor here let's go ahead and do that I'm actually going to remove the plane it's probably what I should have done in the first place but now what's nice is we get some more reflections we get other things to refract stuff like that right now we just have the floor coming in we have our T our floor is you know kind of too bright and there's really no reflections either on on this we have our basic first reflection but not of other stuff the other thing you're see is you're going to see some depth of field you're going to see um this kind of blue casting at blue tone but right now I'm worried about this how do I get all this nice little detail on this rim all the way around the cup on on our liquid on our tea the way I'm going to do that is I'm going to first of all set up our reflection on our liquid okay so this will be a basic Beckman and turn on reflectance and turn on your Fornell shader and go through this so this is going to be a lot of trial and error this render frankly is beautiful I don't even know if I'm capable of this type of rendering but we're going to get as close as we can because that's what we do so what we do here - GSG um Chris if I'd wanted to add a little bit more geometry where would I do so there's that in the subdivision yeah I just increase that if I want to I was seeing that - I may I may just do that so that a cup a cup and I'm just increase it to three three three three yeah so that might give us a little bit cleaner transition there on this on this handle so let's see what that did yep so already looking nicer not no GI nothing going on right now it's just reflections and it's just the cup and it's just all this basic stuff we also don't have reflections on our glass so right now we just have our specular which I basically is off because we don't have a light in here I'm going to remove that as well I'll leave it in for now but I am going to add a reflection to our entire cup and just do another render and see what we get now all these all these reflections and stuff kind of get a little flat because of our floor and our studio rig so I'm going to do a couple things first of all I think our studio rig is just way too big so first thing I want to do is make sure your floor isn't too big you only really just need it for the camera okay so you need it for the camera and your reflections that allows more of the lights to come in as well other things we could do is well we'll get to that in a minute so we have our we have our floor change but I also want to make it darker right I want to start to introduce these like blue tones into it as well and just kind of darken just kind of darken things as they go out that might be a little much but that's going to give us variation on our handle and against the floor it's going to give us different colors as things start to refract and reflect and go just go crazy okay so now we have our handle we have our tea but obviously we don't want our tea to like be totally bright like that we want to I'm actually going to use a gradient to fake a little bit of that kind of orange to yellow he has going on you go get put some absorption in there that's where you get those transitions happening that is true oh yeah you know what thank you Chris I'm going to try that so in our transparency on our tea layer here we can crank up our absorption color and our absorption color could be like this brighter orange yellow and it's going to absorb after like 50 centimeters let's say I'm going to have some refraction 1.33 man and refraction thank you Chris and that's going to help us uh go back to our camera let's do another render this is going to start to give Artie kind of more of a transparent thing now the reason I was going to wait a little bit on transparency which we I think we should still showed a little bit is it eventually will just be a render hit you can see and we're going nuts so in fact let's talk about quickly some physical render settings we could do to speed this up first of all options reflection depth let's go to to drop them down physical rendering I'm going to go to fixed then I go to zero to zero this out dude done check out how much faster this will render and obviously how much more grainy this is but now we're going to get down to the point of this of this T a lot faster so now we have you know we're missing a lot of the color you got to know it's your absorption distance our cup is so tiny that 50 is too big like you want drop that down like two or something mmm okay so maybe the color might have nothing to do with it let's keep that there let's let's try our absorbs zorp absorption distance again see what get already I see more red in our in our in our T that's looking good that what's great about that I'm gonna take the mouse for a split second like I just love the transition you get right here in the edge when gets real thin like you start transitioning through it that the color goes away a little bit like that's what absorption is good for that's gorgeous uh now all the colored though it seems like it's coming from uh the absorption color that's all of it it should be a brighter color so I'm hoping um it's actually more of a red in general but then it absorbs to a brighter yeah a brighter so I'm not sure if that's going to be possible may actually want your absorption color it will go to more like three or four like the smaller is gonna make it all deeper colored the larger it is then only the thickest parts will get the deep color right so see how see all there's these like it's almost refraction kind of like light play that's going on down here and all this stuff we are missing a bit of that which could be how could we bow h that make your absorption distance bigger like four or five to start out and then and right now that's kind of an adage process so now I think you're adding that yellow or a multiplier so you're adding that multiplying that yellow on the orange which is really mean red thought that orange color you've made the top I think is really sucking out the color now gotcha this is uh that's pretty the reflection of that table is still very white it's too reflection too reflective II on the front edge I think we're getting somewhere on the rest of it um I'm going to talk about tole internal reflections which I think we have um exit reflects it reflection so let's turn all those off to another render and we'll get back to the liquid I think that might be a rabbit hole if we get into it but let's get the rest of it as clean as possible and then we'll tweet that that red tea color okay so already we lost some of that to brightness right there sounds a lot darker more contrast in that feeling that better already teas good that's good that's good that's good um let's talk about so I don't think we should use real GI although it might get real real fun real fast I mean HG ours are good but wouldn't G I'd like not really show up at all yeah there's there's enough there's enough little detail here where like the the way that well let's talk about it this way in the studio rig that's the built the built in studio will shrink this down trick our radius down Milton studio has three softboxes has some good detail in it but there's not a ton of detail to bounce around and I'm gonna cheat a little bit too and grab a cup like a color a series of soft boxes and rotate this around so this going to give us a little bit more detail and it's going to allow us to kind of see some color move into the scene and this may work it may not already are that too bright reflection is like toned down I like I like some of the tones we're getting on that orange and blue that's popping up there already diggin it um but ultimately this might not be a studio shot as much as it is a outdoor kind of like real kitchen scene kind of shot because all this black stuff I like the contrast of it but ultimately that's what's making it feel more like that could be the reflection depth as well we could that as we turn up our reflection depth that's going to show so that might be a last-minute thing that we do so let's just compare the one on the other one I almost feel like in the render in the reference like this like an outdoor patio or something like I thought I set that to zero but we're setting everything to zero just to get stuff as fast as possible but I'm I think you're right Chris we're going to have a more of an outdoor situation I'm going to do this one more time with our numbers cranked all the way down bear with us we have half the cores shut off on this machine so that we can render on it this box but let's try let's try like more of an outdoor one just to check I don't think I've really shown these but I shot a ton of 360s on my road trip and I have a bunch of HD RS that I kind of fake built out of them I guess I won't go into those right now but this is a set this is a gazebo shot so let's wait for this to update here real quick this is a a gazebo that the top of it is all like a gazebo but then looking outside of it it's all this like light data that we picked up and have from outside so it's kind of sunset in what does it say us San Diego no it was a Santa Fe Santa Fe okay I guess those are two different states let's do let's do a render now and see if that detail helps kind of pull out some of the some of the top parts I don't like the way that the gazebo top is pulling into that one and I'm afraid we're going to go with green Canyon because there's nice colors in this one um tea at the Grand Canyon it's tea at the Grand Canyon now watch watch check out some of these colors we have some nice kind of sunset colors over here on the edges so let's do a render now see we get so we're just kind of finding the reflections that look nice on this really low res we could go over and over again but already I think we're getting some nice stuff here it's a little dark we might be able to just like be able to just crank it up a little bit that could be a thing now um the other thing is the background is showing up in our in our actual refraction so instead of um instead of what I want to happen which is let's hit render what I want to happen is for the Grand Canyon to show up in the in the refraction but right now you can see it's just like this flat color this is the studio this is okay we could do that but we can change that by either adding the background to the scene or what's another way we could do that so we can take our HDR studio you can open it up save a visible floor reflection sky reflection sky and we want to turn off oh here we go it's not seen by transparency or refraction I think that's what you want right there that is right seen by transparency seen by refraction so now the sky should show up in the refraction and not be the background which might work am I not certainly blinking it certainly certainly more blingy but we're also staring straight at it so let's go back up to our top bit and see how this comes in you like the refraction the colors you know could be a little too bright now could be a couple things I did crank up the brightness a little bit but I think the colors and all this stuff that's refracting through it is starting to look really nice it's not bad it's not bad the floor itself I want it to reflect the sky as well so I'm going to go to the floor controls I'm going to add up the hgri reflection which is going to reflect the sky and I'm going to blur the floor a little bit so now what we're going to get is instead of just that flat colored floor it's going to start to reflect the colors around the scene give us a little bit more realistic feel to it kind of a subtle effect but you can see now it's not just the flat colors we're starting to get a little bit more I'm just going to turn it by reflection a little bit more not crazy on it but now let's start set up our scene get our depth of field set up so that we can do our final tweaks on our our color on everything so Chris you're saying that orange how does Imjin yellow make red you know saying where's that they multiply there it's darkening it like oh and friends the thickness here like yeah we want to make this as thin and just a hint of yellow and see what that does I mean is that where's that coming from well let me try rendering now you might you might be pretty good now but it's I think it'd be like a little watery right now yeah well then now start adding in your yellow like almost as pure yel yellow as you can tie in just in the absorption just in here like no but just that steak near white like it's it's a little green right now get into that warm territory like this yeah but it's close to yeah and a little bit will very quickly like yank you out of yellow so you won't be like right there in the yellow world yeah okay now we're talking like a suit because you guys think of it like that's like almost like one layer of it but we're looking through an entire volume of it so no Kay now we're starting to talk so if you had a little bit more red and actually you'd wrap don't you actually don't change don't change either that's pretty good let's drop our absorption distant sound like two or something one or two okay and I see right away you have made it redder but now now we're already we're transitioning from yellow note from orangey oh so now make it one or even 0.5 and we should really start picking the colleagues out of it oh yeah dude dude dude dude dude so just the difference we look like darker darker darker and now it's getting thinner thicker thicker okay doing yeah and that's why I meant like it the colors have to be so subtle on here like just a little yellow and a little bit in the orange range in there now now now we're talking about how we got our sunset tea oh we got it now we got it oh my gosh okay okay we're good now I think we got this um so let's let's start to set this up I think by adding the first of all by turning this off and let's see here we're turning our preview off on we're taking our our tea cup then we're putting another one in the background rotate a little bit and we're going to rotate it so it's not perfect okay and now we're going to set up our kind of camera and this one's more of a square more like tall so we could we could do that too sure let's just do square let's go 300 by 400 and get D lock thank you and now let's we can crop in on this one kind of get the tight crop and there's also this like canting thing going on here which I dig which we could just like tilt right you ever want that you just grab your Z go walk there you go can't do that um and let's just do a render here and see what we've getting like frame wise see what the sense of the composition is like all this stuff right ctrl tab if I remember right and no man I'm Way off so I'm cropping too tight this is where I always forget where this is I think an ulti alt V I think alt V brings up your viewport settings thank you Chris would I be there at you bordercolor crank it up right we want we want to see like what our scene looks like okay so we can we can kind of play with a crop a little bit and get more of a sense of our scene like that do another render and now we're getting our cup thank you Chris a cup and our background and like look all the refraction here is being helped by all this stuff I also want to brighten our background up like this is actually dark to bright a little bit more and this transparency I guess there's not really reflection on the floor but there is a little bit so instead of using instead of using that floor straight up the way I'm going to the way I'm going to cheat it is to use a different floor so here's how I'm going to do that I'm going to take our HDR rig just turn off the floor completely because what I want what I want it to do is what I want to do is what am i doing plane right I want to turn our plane back on I've got to scale this up scale it up and I want our custom floor material on it because I want to pick up some of those reflections but I also this is something we need to add Chris anyway is we're not going to be able to use the new reflectance with the with the HDR rig because we don't have access to boom right there Beckman right hmm this is what we want we want blurry reflections on this ground and that's going to give us all the pop-up stuff so reflectance let's add for now let's add blur first of all but also let's add Fornell there we go and this four is also just going to be luminous I'm just going to cheat it a little bit and just keep keep it a little bit bright so here comes the floor here comes the color just going to see what that looks like so now we're getting more realistic reflections and refractions because we're not dealing with the floor background we're getting them we're getting the blurry floor we're getting all the stuff from the background and we're also going to get for free all the refractions and everything from the drink so I'm also because we don't really have lights in this scene going to cheat the drink okay we're going to do that by clearing this out going back to our bright orange color here and seeing that letting some of that color come in and light the scene so total cheats here you don't always have to allow global illumination to light your scene look at what we have now we it's a little heavy we could we could bump that back but now we're actually getting real brightness and our scene we're getting nice reflections here I'm missing seeing under the under the saucer like in the reference I feel like our overall brightness is is a little bin little dim well I think right now whenever I see something that looks good visually but might be overall dark I never change it in cinema right unless because right now we have everything balanced we have the reflections balance with the refraction with the color of our tea with everything if you just globally want something brighter my instinct is to do it later you know is to just brighten it like Photoshop style for this my concern is like getting the ratios right um things like the shadow between here and the top that's the stuff that starts to freak me out this luminance is totally killing us yeah well without without color you can't get shadow from the cup or liquid right oh so I think let's get the balance right and then we could crank it all at once because I what I don't want to do is keep fighting every time I change my brightness so now we got darkness that's good now we got darkness so you know what cuz it might be at the point where we want to think about GI you know like we have all this stuff here do we just do we just see what happens oh maybe okay I at this point I put a light and some shadow but I don't know what GI is going to do but yeah my area of expertise it could help I think for ask Gia she is going to be along just a lot of render time um but for me the overall like here's here's here's what I'm getting at if we go to filter and we turn on our filter we can go to our exposure and start to like dial up our exposure and our gamma and really see like some drastic color changes right we can we can rotate our HDR let's go grab it and just spin it kind of randomly and see like what kind of different reflections we get especially off the floor so that we have like a brighter nice little thing here that's like a little too bright you know I kind of like to how it was before but it but this looks better you know like but now same thing we could just dock toggle it so like overall dark for sure but we we could just brighten and see what that feels like we could say okay gammas a little I'm going to leave this at one just play with our exposure a little bit and see we could get a lot of that detail back just by cranking it in our floor I'm also going to add just a regular layer of reflection just to get like a pure reflection off of like the top of the piece of glass kind of thing mm-hmm same thing will add some for now this one I might own way back that's funny whoa yeah to click off the tab or click transparent sitting them back to reflectance it so we're building the bugs bugged out on me okay this is not roughness is going to tone down that reflection in general no specular obviously but that's really not showing up let's go ahead and do that again and again we see these black pieces in our glass this is where our reflection death might do the trick so let's go to one and show off the real problem see how much more black there is in one as we go up we're going to refract more and more and more and it's going to give us none of that black the other way to do it and I sometimes I forget where this is Chris maybe get out me you can actually pick the color of that you can actually pick the color of a color of the black out of the black I actually don't know where they do you remember where that is I I know you can do it I don't remember where so I'm gonna go to physical render and maybe hop around in here and it's not coming here it's gotta be if it's not under options I almost feel like it'd be in the material it's not I don't think it's in the material maybe it is transparency absorption color maybe under like illumination or editor or something I don't ruffle Nestle or sampling exit color boom you did it so okay so here this is a great trick the exit colors he still has some like but that could be just black in the in the thing itself um but check out how there's how much less black there is you can we can just pick our color and say I mean crap we could pick our exit color to be orange right now when we render those holes are the orange of the of the liquid instead of black boom right and cool except we have too low of an exit color because our shadowed that reflection depth too low so let's go to two now we're starting to get those oranges back in for free look now we have more on the bottom not so much that it's ridiculous but it's coming in let's go - lets go to three less and less and less as we go down but we're getting more and more and more of that like refract ins in there and get some weird colors right so kind of interesting maybe a little maybe a little heavy right but we can dial that in thanks for reminding me that that's where that is so reflectance transparency exit color not not quite so neon pretty cool so this much that must actually be the Grand Canyon okay so that is refracting you know the sky and everything around it um and I know we're getting close to the end here but we can just try some random ones right we can go try a scene from I don't have an HDR for that one and go to Park City let's go to Park City there's a lot of mountains a lot of a lot of gondolas around you you got all this stuff and let's also angle it the right way so let's go to our HDR studio rig let's turn our preview on and make sure that when we see the background that the background is as kind of clear as possible so there we go still a little dark but not bad we got some nice reflections here we got some different reflections on the floor here um not my favorite one we could check this one like I kind of like the way that that one was was angled undo undo so we can actually just go like this and we could undo does exoneration there go boom Grand Canyon do a render make sure we're okay not bad now the one thing we could do is just take the the brightness of the whole scene and just kind of kick it up a little bit that hopefully will like brighten up our our shadows down here just a little but I kind of like the contrast in there yeah could be a camera angle thing just start playing with stuff when you're using a physical render is sometimes you know all your cheats go away because it's based on what's around it you know it's hard to like turn things on and off so yeah at any rate this is this is close you can see we're still very grainy because we're rendering so how fast did you do depth or is there depth from the reference yep let's go ahead and add our depth of field um and see how clean all of theirs is like it's almost has like a beard color to it um I almost wanted the luma guy I don't like the magic luminance magic luminance I'll dial it in halfway because I feel like it's it's adding a lot of see how iPad automatically so much better a lot a lot of like brightness to the scene but it makes it look like some magic potion I love magic okay that also makes our orange too bright our fake exit Orange so let's go ahead and change that and we can actually just go ahead and color pick one of those darker colors and see what that looks like I might kick it back up to the orange yeah that's not bad actually it's good it's a good color out there what do you think Chris better I don't know definitely better better than the potion when we try it again try it try knocking it down again luminance go half again oh no yeah you know what I think you're right I think at the end once we crank it all back up so we just because that's how dark we're rendering by the way everyone knows this is how we're going to crank it back up so let's go back to our regular render in fact let's keep our filter on just for now and know that we could fix that later let's totally get our composition totally locked which right now we have uh wireframes can I see some shading I guess we don't have a fake light so that probably isn't hoping everything's all so transparent and all that stuff so when I do that I just go to when we go to to see stuff usually it's lines but I there you can turn off transparency oh yeah where is the Hammacher other options options there's transform it says it's offer Oh textures is what I turn off that's what I do I just turn off textures altogether just get my composition together and go like okay what's visible what's not like let's officially get down to business here so we could set up our final render and look at the look at the feel of it see like oh maybe the camera is negative 18 instead of that far over a little bit of both here we can see the bottoms okay let's do like a like our composition render and then set up our depth of field and get going good good I think we're okay I like that highlight I want to tone it down but we'll do that in post so good we're good we're good let's do that the field camera seen this a few times I'm sure if you watch the SG SG focus distance pick it click what check the reference it's basically everything in here is is in focus you know I think that's a photoshopped fake blurry one in the background if I were to take my guess I would say he took this one copied it blurred it the way faster way to do it especially when a client is yelling at ya you want to do that so let's instead do it the hard way set up our depth of field right on the kind of edge of this rim here and also set our camera depth-of-field two one let's go to physical render and go to depth of field turn it on do render and see what we get so we're going to get a lot of stuff that's out of focus we're going to get so nice depth of field though looking good too much depth of field we could turn up our f-stop as the f-stop goes up you're going to get half the depth of field for every doubling of that I think that's the math of it so at certain point you're going to have to go to four I'm going to go to eight maybe still too much let's try four now that we have a scene that's in scale we're actually using real f-stops instead of like the fake ones we usually do like point two instead of looking pretty good that's looking good I think we're going to go with that um let's go ahead and this is the actual size right now let's talk about quickly getting to a good sense of a good set settings for your physical render eyes erode everything out mostly so I could just start cranking numbers up so I can go to three okay uh I'm going to use fixed I've had good luck with fixed in depth of field so I'm going to crank it up and start to see you're going to see it's going to double the render every time you crank that number up by one it's a doubling of the samples it's a doubling of the render it's doubling of everything um this isn't looking so bad I want to test um team render but I kind of don't want to break anything I also want to save because I had save time yeah so let's go ahead save this as cut three cool I heard my feelings like I think ours is looking really good but every time I look at his it hurts my feelings because his is so nice it really is beautiful I feel like there's a really bright overhead light in his or like a really bright sky that could help to UM that's something we could just straight up add right if we just grabbed a softbox or whatever and just threw it up in the in the thing and it had a little half studio half-half light kit thing like we could go see at what that does I know we're running long but just to just to frame it a little bit we can take our softbox just kind of give it some space here and in this case I don't want it let's see what it looks like as a real light let's just see what it does to our scene I'm gonna crank are what I like about this is I could just zero this out again and get a render so that's that's not bad it's a little grainy I think our final render is gonna have to be cranked up settings wise a little bit higher um well I'm gonna do another one Chris with your with your light that you think we need which oh we can I don't mind that I D like oh look how bright that made the tea holy crap and now the way in are going through there and it's hitting it's hitting the ground dude high five bro holy crap you just dude look at this why am I even doing this you should be doing this look at this boom boom boom see don't need no luminance what the hey dawg ah I don't want to touch anything I think that's gorgeous I mean Shh I might want to just make it bigger and rounder I want to make it round so it's not a square one other than that I think we got it let's see if this circular one helps with some of these shadows up top or some of the refraction mm-hm might be a little too right now Chris nice work let's see what it's let's see what this does to our our rear one I think it looks pretty good got good shadows got good reflection got good stuff on the floor that tshh did see my but with all the teeth like thicknesses and all that and I really kind of dig this chef yeah we're getting a really nice gradient down there just like blingy super dark to bling all right so let's um tempt fate here and go to our preferences and I'm going to we have eight cores so that's how many threads at 16 threads it's alright I don't know how I don't know I'm gonna I'm gonna tempt fate and go to half which might be eight I'm monitoring monitor our stream here monitor our our CPU is cranked to a hundred which is not what we want but if we drop we will be right back that does render much faster we're going to set up our settings just so we don't lose our settings here or just so we're not rendering more than we need to I'm just going to go ahead and crank these numbers and you're going to see going from zero to four is really going to kind of it's going to take at least a minute or two for this render might be a good time to talk about reflectance in general the fixed this fixed way of doing things is a little brute force there are other um there are other ways to get more into the details with adaptive but what I found is as soon as you're messing with depth of field then essentially you do want every pixel to be treated the same because there's depth of field like everywhere in the scene especially with shallow depth of field so I've had better luck just going to fixed and starting to move the sampling subdivisions up now we can also have blurriness subdivisions we could move separately we could change the shadow subdivisions separately subsurface scattering obviously we could do all this stuff but you just getting a good basic number is um kind of the the way I like to start with things is is doing that um this is looking great thanks for that light idea Chris um that was that was key bro that was keys you can see our depth of field still going to be a little bit grainy at this res at this um at these physical render settings um but there's no there's no cheating physical render I've I tell you I've spent a lot of time in here playing with these numbers a right-click in and and looking at the help and and asking and asking our German friends that work on this stuff like what you know what the way how's the way around this stuff and really there the answer is it's slow it's a beautiful render but it's it's little slow but great results especially for a render you get for free inside of of cinema so one thing we can do is um turn off our filter remember we still have our filter on oh if we like our adjustments we can just save this with the filter on it frankly we don't just do that I will probably want more control so I'm just gonna when we say this out i'ma save it original but you can also save it out as EXR I'm a little reluctant to let this finish rendering because I think it's gonna be another four minutes well we could take we could take the lower res and do some photoshop to it and then let that keep going that's a great idea Chris dreams the stream is still alive you're full of great ideas today okay so here's our low res fuzzy version let's bring this into a Photoshop uh save and let's do the copy tricky edit copy Wow what edit copy copy Photoshop god you're teaching me so many things today this is why this is why basically I think Chris with you around oh I would like computers more okay um so here we are in Photoshop immediately I'm just going to grab levels and I think we could play with the curves or the gamma this whole scene and brighten it up and I'm also going to grab a curves on top of our levels and just start to really get a lot more contrast into our scene the other way we could have approached it is going to our exposure just like we did in there and just start to crank that up so this is really all we did in in cinemas filters is to do that so that's actually does look pretty good what I would have done other than the copy-paste which is going to give us like what an 8-bit TIFF you can export an e XR which will have more light data and more pixel data so that one when you start doing all these settings you'll you won't get any banding or anything like that so let's finish off with our curves are now too bright now that we adjusted in that way our shadows I don't want them to be too dark um overall I'm digging the the vibe of of that render they're trying to I'm trying to like squint my eyes and see how how it looks so it seems a little seems a little um colorful right I get too much color now yeah too much color so in here we could just grab a hue/saturation and just like kickbacks not the whole hue but just get back some of the saturation just so it's not so like neon like though I kind of like that the end but you like this one yeah there hang that on the wall yeah that's yeah that's some like pop art just tone down the vibe a little bit and the other thing we could have done in the final render is add a vignette a natural vignette that would help with the blurriness and all that stuff so chromatic aberration would help in this case we're just going to add a really simple gradient and we're going to multiply that on top of it and that's just going to give us a little bit more of a focus in the middle that you want that to be below all of your curves and probably not your overall brightness because this is kind of the exposure of the film but that'll give us our focus a little bit more on the colors and stuff that we want to see here and this will allow us to then kind of start to push up some of these colors again as always you know playing with some of your colors channels and messing around what that can give you more of a tone bringing your shadows into a little bit more blue and pulling a little bit of blue out of your out of your highlights gives a little bit more of a like a smoother look to it and let's check our render let's see how close we are whoa it done I talked for long enough Chris so okay edit copy paste and I just got to move it to the bottom brink and I tell you buddy that's uh that's not so bad I'm doing bad more happy with that so here's the original render okay this is what came out of cinema and again I think you're right it was too dark but we could we can use once I kind of want to reiterate this because I think it's a thing I fall into a lot too which is like more like more like but if the if the ratios between things look good like the contrast between the darkness here and the brightness here the brightness and the darkness it like your ratios are looking good especially with transparency I always hate to like add too much other stuff so I just rely on on you know Photoshop or After Effects to like bling it up one more pass with higher settings I think for a depth of field and we're and we're going somewhere but that might be it for us that should do it alright thanks again for watching everybody if you followed along with us during that tutorial please post below what you made we'd love to see a render please help everyone else the best part about cinema 4d and this motion graphics community is the community so be sure to interact in the comments below also please don't forget to subscribe to our youtube channel check out our intro to cinema 4d series that's on our website you check in the description below and please make sure to look for much much more from us on YouTube on our website in the near future until then I hope you're having a wonderful time learning all this stuff we've had a fun time making it and we'll see you in another video really soon bye everybody corn it's a corn statue cream-of-the-crop award get it huh

Channel: Greyscalegorilla

Views: 189,308

Rating: 4.9457226 out of 5

Keywords: cinema 4d, c4d, tuts, tutorials, motion graphics, greyscalegorilla, cinema 4d tutorial, modeling in cinema 4d, cinema 4D modeling tutorial, c4d lighting, cinema 4d glass material, Model in Cinema 4D, glass texture, c4d glass texture, c4d modeling basics, c4d model intro, askgsg, c4d glass material, c4d glass tutorial, c4d liquid tutorial, c4d liquid texture, cinema 4d liquid tutorial, hdri lighting, hdri studio pack, c4d hdri, Physical Render Settings, gsg

Id: 9wRw_5DLS8c

Length: 64min 50sec (3890 seconds)

Published: Mon Aug 15 2016