Materials 101: How to Make Things Look Realistic in Cinema 4D

hey and welcome back and wow we have done quite a bit together haven't we we have gone from off this is the first time using 3d to making some pretty kick-ass renders let me tell you most people's first year in 3d doesn't look as good as your first day might have so but we're going to work our way into is being able to light cars and it's really not about the lighting as you're starting to understand with Sena designer adding lights that's easy that's fun that's DP stuff framing up doing camera work that's what you do in real life but what is tricky is in the computer getting things to look like how you want them to do how do you make something look shiny how do you make something look reflective how do you make it transparent of course when we come to lighting when we come eventually to lighting cars which will be in the next episode of this you're going to have to be able to make plastic car paint glass and chrome cars really ask you to fully understand how materials work in the real world and lighting and they ask you to make be able to do that in the computer I'm going to be able to get you through that process right now we're going to go over shaders we're going to talk about how to make things Shanee how to change their color how did it do transparency so that they're see-through and how to make things reflective we're gonna have to clean up the terminology there because I used some terms that we're not 100% but let's hop into cinema 4d and cinah designer so here is a rig um that I'm going to be giving you the r-1 users here why don't that work and it is a table so thanks a lot Matt thank you thank you thanks for the table right but what's nice about this table is that you can dynamically change its height and its width and its depth so if you're dealing with tabletop this starts to be really important to you now what I'm going to just show you right now is that I had to program this in centimeters because that's how computers work all computers work in metric and in centimeters Maya blender unity unreal and cinema 4d their native centimeters so I program in native centimeters but how do we convert this so say I want this to be 30 inches tall which is a very American US standard for table height the we're doing tabletop it doesn't really matter we're going to do 30 inches 2.54 so sorry about the math and the conversion you're just going to have to do that and what I'll help you do is I start it'll help you start to get used to metric in centimeters because as we get into advanced advanced photometry arm reality capture and scanning having a sensitivity and an awareness of metric as far as like how many centimeters is tall as a person how many centimeters tall is a room these are things you know in imperial but you should also start to learn them in metric because metric is easier for math and you'll be able to move faster and faster is better when you're scanning your room the most annoying thing that I can think of is like oh it's 20 feet five inches that sucks that's a terrible measurement you want to work in pure centimeters in metric it's much better long term so I'm going to force you into learning metric here but if you want to cheat let's cheat let's make it 72 inches x 2.5 4 and deep we're going to make it 48 wait yeah 48 inches x 2.5 4 so that is this table here really helpful rig um I expect you'll use it for dinner tables for any of your tabletop jobs and honestly when I go to make this steel deck rig it's going to be essentially the same thing and this is what I'm calling a cinematography database rig so instead of you modeling out all these cubes and stuff like that I don't want you to be 3d modeling I want you to be designing camera work & lighting I'm going to be giving you a lot of these rigs so everything that you would normally have to 3d model like chairs even rooms and walls and windows and stuff like that you won't have to if you want to invest the time to learn that I think that's going to be valuable but my goal is to provide you with tools like this to make it easy import the table put the dimensions in flying that's what we have to be able to do here and the nice thing about this is like if the directors like what if we make the table just a little bit taller a little bit higher you can tweak that here like you're a flame artist like your coloring you don't have to get in there like oh it's gonna be 10 minutes let me just go everything I want to be real time tweakable for client I want you to do this live in front of your directors in front of your clients at NAB at a huge trade show talking about some sort of new thing be able to do this all live that's the goal so let's get right into textures you'll see that this has textures on it but um we're not gonna talk about that so I'm slide this up because my little video to be here and I'm going to put my video here and down here is where all the textures are but let's start with some objects let us bring in a fur a sphere um sorry if we're not friends anymore because I just said it likes four let's change this from feet actually doesn't really matter so we haven't dealt with a lot of primitives yet but I said you click the the primitive you want up there and you can you know look at the properties you can change around it I really don't want to cover that stuff that's boring generic cinema 4d stuff you'll see I hope what you find somewhat engaging about this tutorial series is I've skipped all the boring basic basic stuff and we went right into cinematography camera work and lighting all the things I'm trying to show you are then immediately applicable to your life as a DP so let's call this first one um so say we got it we're going to do flat paint so say we colored this whole thing we painted it with white paint and it was very what I would call diffuse and it's not shiny or glossy at all we're actually going to make a perfectly not shiny object so down here in the texture menu you can do new material or command N or I just end up double clicking and it makes a new material I'm gonna bring this up just in case my windows not big enough and so we have this new material down here and when you click it like anything else you get its attributes so the first one is basic and it's its name and let's call this um paint flat and you'll see that there's a bunch of things here and it's pretty intuitive to change the color you have to have color on to make it emit light we're not going to get on to that in this one you could turn on luminance and this speaks to how the space lights work and how Kino flows work so imagine that that was a Kino Flo shaped object if I turn on luminance that starts to give off light now let's talk about that in another video that's its own thing how do we make space balloons and stuff like that would give you space balloons but also show you how to make them because there's a lot of weird shape stuff that like I don't I'm not necessarily going to have ready for you at r1 or r2 or anything like that there's a lot of lights but if you want to go ahead and make your own I'll show you how to do that but I'll make you some really nice ones that you'll like eventually later too if you want things to be shiny you would turn on reflectance and we're going to go over that and then so forth so forth and so there's transparency if you wanted to be see-through a bunch of other stuff but I'm going to show you the stuff that's relevant to you making real-world materials for things that you want to do so to put something on an object to put a texture on an object we're going to click it and we're going to drag it onto the object so simple I love I love that that's so much better than a lot of other programs I won't name Maya so basically let's click this object and the only thing I'm going to do is that segments changes how much geometry is in there so we want it to be a little bit more realistic I'm going to say 64 and you'll see that I'm not going to get into tags today actually we're going to get into tags a little bit but essentially um the way that cinema 4d organizes attributes is it adds these things called tags so it's kind of like if you know WordPress if you have a wordpress post you can tag it as like a tutorial or tag it as a about cars and then you can click that tag and everything about cars shows up it's a similar system here and it's really powerful because it's not baked into the object that this has a texture on it's just this tag if I delete this texture tag there's no more texture on it it's really nice and it's really visual to see that that object has that texture on it I really like that about cinema so let's look at the texture that's on it so let's go we have everything off but color and that's what we're going to start with um and what we can do here is we can change the color this main color here so let's pick so there's huge saturation value and I don't have a ton of time if I if I have to go over a hue saturation value like you don't color and you don't understand that that's like so core fundamental I'll have to make a whole video on that but essentially here's the color let's pick a nice color like blue it's going to be a blue paint so here's the saturation down here on the left is white up here is very very bright full saturation I'm going to have to do something really pretty intense if I have to explain what that is later and here's value so black down here and full color at the end so this is like the impossible color you can never get in real life realistic colors never have a real-world colors never have full saturation nor they full well value it could be but essentially you want in cg you want to stay away from stay away from full white on anything and you want to say full black it's just it's the computer doesn't handle those very well it's going to start looking really fake so let's look at this blue ball here and that's all you need to know about color so when you're in here you have the color tab checked you can go to color and you can just change the color really easy let's go back and pick that blue and now we're like kind of like a toothpaste color Aquafresh is that the name of the toothpaste so let's actually light this because what it's it's it's all cute look at it in the viewport let's actually light it and I think the best thing to light this is going to be a big ole diffusion frame uh-huh and if you work in tabletop you're like oh I know this story tiny round object that'll eventually will be reflective needs a gigantic source if you're new to tabletop you might be like what the are you on drugs this is how we do tabletop actually you get it even closer a lot of the times but this is going to work out fine for us so let us turn on our diffusion frame oh and let me point something about the diffusion frame I saw some people using this um let me just point something out so the diffusion frame only emits light in one direction and you'll see that this thing has like a triangle that this point of the triangle that's where the lights go in I got I should have made that more clear I should put like just more clear you'll kind of figure it out as you turn it on actually but so let's turn it on here you'll see that yeah see it's not lighting if I go like this there's no light coming at the back of it it's meant to go in a certain direction so if that wasn't clear at before so we're a bit bright to be this close to the object um 4010 tends not enough 20:30 hmm let's hit render real quick to see how see as long as we're getting exposure quickly yeah that's pretty good that's pretty good I'll take that so um so do I have to turn it so if this happens to you this happens to me sometimes so so like where'd everything go I hit H nothing happens I don't know what this is also says grid spacing Nan ft which means something got screwed up this happens to me a lot I don't know why and I used to have to like end the scene and come back let me show you how to fix this I'm glad this happened actually and Maxon I'm going to send you this video because you and I going to be doing a lot of work together what's going on guys so it's maybe it's me is it me that's cool switch to parallel which is interesting we even talked about this this is orthographic but don't worry about that things or the graphic is not what you need perspective and we're back and we're back and sorry if there's background noise on top of running cinematography database I also run the laundry service for our family and I do the laundry so let's see do I need to turn on GI for this yeah so here's another thing we're going to start moving into what is called in cg called look dev where you're going to be changing the shaders to affect how they look of course and that's called look dev is shader and lighting relationships as a DP that's now your job so what we're going to do is I'm going to show you some ways to make this process faster and better so first of all turn on physical if you have physical if you don't have physical I guess I don't know what's going to go on here but I don't know we'll figure it out you just render the normal way it's can be a little slower so we're going to go to the physical tab now and what we're going to do is we're going to keep it on low when you go to render your final one put it on high go get a beer it's going to be a hot minute maybe go to bed actually um keep it on low and then go to progressive actually if you go to progressive it turns off so here's me knowing a lot about computers uh let's turn on global illumination because that's gonna make things a little bit more realistic let us change to low and then go to irradiance cache also change it to low that's it honestly if you tried to learn another render engine there's a billion settings that's all you had to do is just turn this all too low so we have what we have physical and progressive anything I'm here I think that's fine we'll go over these settings in depth later and then turn everything to low because we wanted to be fast so let me let me show you something what happens now let's hit Apple R ah it rendered instantly it starts off really low quality and then as you just let it sit there as you can look at the bottom it starts to progressively get nicer and nicer but that's good because sometimes we just want a fast quick dirty look at it and this is a great way to do it and then let me show you one more thing if you go to render interactive render it makes this little box and only what's in the box will get rendered so if you have a big busy scene you just want to look at this one thing you can do that and it is alt are to turn it off but this scene is going to be so simple we don't have to worry about it so let's look at this object and we're going to start making other textures after this so let's Apple are a pretty quick little render there now the table the table surface has a little bit of a specular on it it's got a little bit of a reflection we're going to talk about that next we're going to make this ball also reflective so that's a very diffuse texture you see that there's no reflections in it there's no reflection of the light source and it's diffused there's actually no such thing as at this in the real world you could never like paint is pretty shiny they really aren't diffuse sub textures like this in the world but you can do that in 3d and it has like a nice flat paint look so let's move this over here and I'm going to hold ctrl and I'm going to make another one so let's double tap and we're going to make another texture and it's here I'm going to put my video around there so hopefully this doesn't get confusing but you guys going to get the tab the stuff now so we made a new material over here and let's start by dragging it on to our sphere now if you go up here now to our thing we have our thing we're going to call this shiny paint you see that there's two textures on it delete the green one that's the old one we'll talk about that order later it doesn't really matter just make sure there's just one per object at this point unless you know more about cinema 4d don't worry about it so here's our material we're going to go to basic and we're going to call it uh shiny I don't know how you spell shiny I don't care that's how I spell it how do you spell it we're going to make a shiny paint object so let's make the base color of that paint red or make it whatever color you want make it whatever color you want but make it a little bit darker a little bit on the dark side because we're gonna make it shiny so if it's a white shiny thing I mean the specular is gonna blow out so let's make it a little bit darker so we're in here so now we have reflectance on let's go let's keep reflectance on if it's not see see how it's flat here when you turn it back on you get a preview of it um yeah so that's how you can tell it's on kind of so color we did color let's go to reflectance now reflectance is where we're going to spend a lot of time right now once you understand reflectance you will and most objects and how to make them look realistic so I'm going to just do it I'm not going to explain every single thing about it but you can just follow these steps I promise and it's going to work out for you I watched a lot of tutorials on this I did my own research I fully textured a car to acceptable photo realism and this is the method that I use and technique I would suggest learning this first if you find a better way to do it by all means do your way but this is the way that I recommend doing it for city designers for DPS so let's go back we're in color rain reflectance now we have this thing here and it's called default specular and you don't want that and what you're going to do is you're going to click it and you're gonna click remove so all we have now it's a little bit simpler to look at right it's a color reflectance you deleted that layer that was a layer this stuff guess what you never have to touch it don't mess with it so what you're going to do now that there's no dyes you're going to add now there's all these different things and all these are are different ways of making reflections and guess what the only one you need to know about is Beckman for cinema 4d physical we were us moving forward we're only going to use Beckman because Beckman from my research from what people tell me is the most realistic and that's what we're going to go for here not we're not going to go all the way to photo realism but Beckman does a good job but we just want things to look real that's all we want so let's look at this now so what happens if I render this let me I don't even know what's going to happen now let me render this thing is it gonna be okay so what happens is despite it looking red in the viewport it became a full chrome sphere essentially right this is what a chrome Saphir would look like and let's analyze what's happening here I hope this doesn't turn off the render okay so we have a reflection of the ball in the chrome sphere and we have this big well look we have a reflection of the table and we have a reflection of course of the light source itself and let me go check something really quick you guys don't have to fully understand this or do it let me just make sure something's on on this yes okay so never mind that you guys don't have to worry about it I will explain what's going on behind the scenes of all of these rigs in and more advanced uh lessons but I just want to check something so yeah so we are getting a reflection of the light source in it like you would in the real world so consider we're lighting a chrome sphere that's what this is a car is the same thing a car is a very shiny shiny complex object and it sees the reflections of light so I'm going to render again and see what's nice about progressive rendering is you just instantly see it right that's a nice way to work I like this a lot I'm going to probably do this a lot from my tutorials moving forward it's kind of like octane so we see a reflection of the light source in this sphere so that's how we're going to design lighting for cars is because you're effectively designing this reflection that just went away um in this in the car so that's what's happening so how do we control this reflection so right now it's like completely reflection it's completely sphere but I don't want that I want it to be a red sphere with a reflection in it what we're gonna do is we're gonna double click layer and we're gonna write shiny you know we're gonna call it shiny and what happens with shiny is if you bring it half way it mixes that reflection so what you saw before was a pure reflection and let me just do it for visual Umbro render let's just render so we have it I don't have to deal with that nonsense so there is our reflection and what you do in progressive mode if you're done you just let this sit here until you feel like it's good enough quality will just get better over time you just hit stop and then you could always save it but this right here that is a pure 100% reflection and that's like a chrome sphere and what basically happens is that you take this reflection and you're going to layer that over the diffuse color so the red or whatever colors onto this so your pin essentially putting this reflection over the red and that is kind of how things work in the real world kind of so what I'm saying is that when I go to half here you can see it in the preview that it's half red underneath and then half that reflection over it so let's hit render again I'm just going to go into the picture viewer because let me save it so you'll see here that yes I can half see the reflection of the light source and the objects around it but then I can see under that is a red is the color so you're starting to understand how we're going to probably make a car shader here so let's stop this um so you can cheat here so here's where you can start to cheat physics as you're coming up with substances that may not be even possible in the real world so I do 5% a lot from my objects because that starts to look kind of realistic right that might be kind of like a shiny um like a bowling ball or something right so start there start with a color underneath it's your base color it's in the color channel and then play with um this new layer and is the type is Beckman it doesn't really matter and then chai playing with its layer opacity you could kind of call it so I would say 5% I don't worry about any of those what we're going to look at next is um let's try doing yes stop see it's going to keep any better let's change from average to maximum and what I believe is what they tell me average tries to what what what people have told me is that maximum is the most realistic so that's what I'm going with for now I'm not going to do a billion tests on it eventually I will perhaps let's see if there's a difference a perceivable difference I don't know if there's going to be I don't see a huge difference that's that's the thing about CG it's like sometimes you get diminishing returns for your realism attempts yeah maybe it only matters if there's multiple layers I'm probably wrong about this but again the eyes I'm going to get you through like kind of the minimum of what you need to know to make this happen so let's go back to full shiny so now it's going to be a chrome sphere um we're in Beckman we have maximum whatever what you can do now is if you start moving this roughness thing it's just like you think it changes it from like a mirror to being glassy so the reflection gets blurrier essentially so at a full 100 the reflection is full uh white or rough and down here it's like now that's kind of being like a plastic and as you get down here it's like this is full chrome and this is going to blurry chrome and like I said in other things 0% is full chrome it's a mirror so if you want to previz mirrors like um the mirror make this material full like this and you'll be able to see the reflection of what's in there which will be helpful for blocking with mirrors we'll do an example of that with like we'll do a makeup tutorial where you're always dealing with mirrors and a set how much set do you see in the reflection okay we're going to know that stuff now such a massive thing to know that and to be able to communicate that it's like how did we ever shoot commercials without this all to say that reflection when roughness is at zero it's kind of never possible to be at zero so let's make it 10 and let's hit a render start this render so um now you can see in the reflection let's look at render for just a little bit longer um it's it's blurry and rendering but also you can see that the reflection itself is blurry and that's cool and for people that were wondering how do I make the floor um reflective and then that reflection kind of blurry this is how we do it really simple you make a new layer in reflectance and you bring its well it depends if you want to color under or not you can change the opacity of it and then you can change the roughness down here and that's pretty much it guys that's that's the main deal so I'm going to stop this here so that is reflectance um what you can also do and I'm not like the master at this yet don't mess with layer color um when not we'll talk about that later that's kind of more advanced that when you start wanting to simulate things like gold and like more advanced sub substances we can change this to conductor and we're gonna talk about this more with glass and you can change it to like aluminum and this is the friend L so let's hit render and see if I can explain friend L to you um what fernell basically is is that when you're looking directly at an object so for instance the sphere we're directly looking at like this part of it here and what happens with the Finnell it means that like when you're directly looking at something perpendicular ah it's not reflective it's just not gonna be that reflective though in this case I don't really know what's going on but as you get to things that are more on the side of this object so it's like instead of looking straight at a plane say the plane was like this we're looking at it a glancing angle think about looking at water when you look straight down at water you can see through it when you look glancing angle at water it's reflective that is called the Finnell effect and that is how a lot of real world objects work this is getting advanced you don't really got to think about it that much I just wanted to bring it up so that you can do research on your own what is Fornell how do you make friend of work what what type of things have for now what don't that's going to be up to you to kind of look at at this point so we have made a shiny object that's got a little bit of roughness I'm gonna put it back to five so there we've got our Chinese painting our flat paints let's bring in both into the same world just look at them really quickly this might be a massive tutorial but I need to get this info to you guys so that you guys can rock out and be doing scene design for real-world jobs so uh okay so it's still we made a chrome sphere and that's fair let's go back and make it more of a paint color um shiny paint oh yeah so we got to change this back to like ten let's do it again um and hopefully my mistakes actually are helping you a little bit so you can kind of see what's going on so that is color which is called the fuse and most CG application so the diffuse color is kind of like the base color you can think of it like that and then on top of that literally on top of it we're putting a reflection and that reflection can be a full reflection so it's a chromis fear or it can be like a percentage so we can see through to the base coat and that's how we make shiny objects and then you can change the blurriness of it that's all you really got to worry about those are the main things um so let's move on to the next thing so we looked at chrome and we let me do let's stop this so let's do let me add one more because this is kind of like a paint one let's do it let's leave a chrome one in there I'm gonna call this Chrome and I'm going to delete the texture off of it and let's make a real quick chrome substance so this is going to be good a good recap on how we do this color and reflectance are on the color doesn't matter because we're going to go full chrome reflectance delete this default bring in a Beckman that's it done ah there we go so that's let's hit the render button look how fast they're enders when you're in progressive I love that about physical um so if you don't have physical you can't do this you just have to wait a bit longer but for me it's like oh good and I can just keep on living my life I don't have to uh what's it called only have to like it's sitting there for 20 minutes and see how it's gonna look um so pretty good chromes fear so flat paint chrome shiny object great we're moving right along here so now let's move on to uh oh so so what if I want to make this more plasticy you're going to make it more blurry and then make the let's do it let's just make a plastic one um okay so new object the scenes getting big I'm going to need a bigger table let's make a plastic object now so I just made a new this thing that's called this um plastic a rubber rubbery plastic that sort of thing because like tires are going to be rubber so you're going to need to know how to do that make a new one um plastic rubber thing okay so let's make the color a dark rubber like that yeah that's cool let's go to reflectance reflectance is on delete this thing let's add a new Beckmann and so for plastic you wanna make it like pretty um diffuse because plastic it depends on the type of plastic if it's a shiny plastic if it's a rough plastic I'm gonna leave that up to you it's up to your eye you now have to look at textures in the real world on a whole new level and that's a CG artists work too so let's do something like that looks pretty good and what I'm going to change is the reflection strength now plastic rubber the reflections in it are not going to be that bright like a chrome sphere the reflection of it is the brightness of this of the light that's hitting it or reflecting in it in plastic if you see a reflection of a light in plastic it's going to be a little bit duller a little bit darker and we do that with the reflection strength here so you see that it's darker overall and I'm going to do this make this make a tenner so now it looks like plastic right rubbery plastic it's up these are the main things you change to mess with that specular strengthen to bring down a lot that's kind of like the it's it's you just play with it I don't know how to explain it exactly there's other things that can happen you should I show you bump real quick I don't want to overwhelm you either but um let's uh let's put some noise in it so let's I don't want to overwhelm you but I think it's good to expose you to this you can just skip this and let your mind deal with something else if this is too much what we're going to put in this is noise so the bump is going to change the bumpiness of it it's that's it that's really all it's going to happen so let's give this a render with our new rubber subject and see how this looks doesn't look very good you know why because I didn't apply it to the object um yes it's good to know without spending 30 minutes rendering so there now it's on there let's look at it again I was like wow I I don't understand textures that didn't look very good at all so there's our rubber look you'll see that the reflection compared to these reflections is very blurry diffuse however you want to call it but it really is blurriness I think is the right word and then you'll see that it's like see how these are very white bright reflections this is a little bit darker gray so that's kind of how I would make a tire material so it should be remembering these because we are going to be making we're going to be using these exact textures on a car later so let's cut this stop that Jam what's the last thing we're gonna do oh yeah glass so glass is um even I'm a little bit new to making glass in trying to pick selection here okay so the viewport and cinema sometimes a little bit slow a little bit weird so let's make glass as our last stop here and of course there's um as many textures in the world as there are things everything kind of has its own um its own texture I'm going through like kind of like all the ones that you are going to be relevant for a car which is going to be a lot of them the only thing that we haven't really dealt with it's going to be important for you is humans skin human skin is um can be tricky if you want to go there if you wanted to be on candy Valley like that a real picture like that's if you want your stuff to look like that you can or you just keep it simple and it's like you know we're just visualizing we're not trying to like trick people um class glass fun let's make glass because glass is windshields glass is going to be like the coverings over your your headlights a lot of things are glass so I believe for glass we actually don't even need color unless you want like a colored glass which I'm going to do clear glass okay reflectance we need and we're going to do our first thing with transparency so let's just put it on there for now and delete away the other one make this glass glass with 1s we're going going with it so you'll see that it's transparent like even in the viewport I can look through it that's cool maybe we should well let's see so you can see through the table so this is already see-through and I don't know what happens if you render it let's just see what's this going to look like rendered okay cool cool so it's see-through but you're still seeing reflections in it okay so let's looks like a - ahead of ourselves though let's let's go clean something up about this um the science behind reflections and recreating them in the computer goes deep goes really deep but guess what we're not going teep we can do it the stupid FAST away and it's going to look good look great for you on your cars we are in transparency here in our glass material you can change the color if you want like color glass just I would just let's keep it simple here we're going to change refraction preset ah there's beer milk plexiglass all these define things water while he's important if you want to start doing water stuff if you don't you we can visualize water okay it's going to be cool when we do that but let's let's keep it easy we're gonna do glass and automatically it changes a bunch of things like the index of refraction the absorption the friend L reflectivity all that stuff it's done for you you just turn on transparency and you pick glass that now will work for your windows and that will work for your coverings and it's going to work for if you're making like a wine glass or a glass table I believe it does it all for you so even if we go to reflectance now you'll see that we got to delete the did always delete this thing called default specular this transparency you can't remove this came with transparency when you turn this to glass it gave you this one so it's handling it all for you so we'll go over this really quickly again when we do the car one because we'll make all the textures from scratch you literally make a texture turn off the color turn on transparency and you're going to pick glass and it's glass now maybe that sounded like a lot of steps when I used to have to make glass the hard way and mental ray and v-ray it's a lot more steps a lot more cities if the change in the render engine this is all very easy so I believe transparency and reflection are all set the only thing about this is there's the reflection the roughness is zero so it might be a little bit fake looking but let's check it out check it out now oh there it is guys that's like a glass fear and is it like a solid glass fear or is it like a thin Christmas ornament type glass fear that I don't know let's look through and see like this is where you got a you start to cheat a little bit so let's see what this looks like if I go like that so I'm looking through it hmm it seems like it is a solid glass object is what I'm guessing like not a thin walled one which I know that's an option in other vendors so that's it's glass that's interesting so so nine times out of ten with glass it's not a solid object it's just like a plane like a windshield is just like a thin piece of glass and that's going to work out what you're going to go do at this point with this glass um we'll deal with this more in the car I think it's this yeah where do I change this well play with this in the next episode but essentially these reflections are coming in hot and we're gonna cheat that later because you don't want your car reflections to be like a you know a billion you want them blowing out like crazy so that's it shift our and look at this does that bring down the yeah so you see how this reflection seems like a little bit dimmer that's a little bit more realistic for what like a windshield is going to look like um in general so ah you know it's not the most convincing glass because it's a sphere when we do glass on cars and wine bottles and stuff like that bah-bah-bah that's going to look a little better essentially again turn on transparency make a glass and I would say come to the transparency I come to the reflectance and turn down the strength because this is gonna be like a full white reflection looks kind of fake looks really fake ah so let's do our full pull away here fun stuff right guys shift our let this retrace it up so there it is on the left diffuse flat paint object - its right is a full chrome object after that the red shiny object like a bowling ball it's that's my version of car paint that's his complexes we're going to get to keep making car paint realistic it's a little bit more advanced we can go there but I want to show you why it's important to be able to use a simple car paint shader first to understand the reflections that you're getting and then at the end you can start to add like you know um I can see my mic shaking so might my dryer is about to kick on - but to be real loud um you can make car paint more realistic by putting like paint chips in there and flakes and making it sparkly and and you actually end up having multiple diffuse layers one that's kind of really diffused and one that's really shiny over it that stuff looks good um gets a little bit you know if you want to spend the time to make one really nice looking car and use that over over again I recommend that on next is our rubber surface so it's essentially the same thing as a red ball except to the diffusion the reflection is very glossy it's very blurry and we also brought the brightness down of the reflections because that's how rubber works and then other one is this weird glass sphere which looks kind of crazy so that's a of all the things you're going to need to text your car and honestly the texture almost anything now there's a lot more to deal with there's things like if I backlight something like cloth like say you want to do sheers all of a sudden our canvas or muslin or diffusion you understand where that's kind of going that's its own type of texture um there's something called subsurface scattering when we're doing skin and wax um there are textures that glow and emit light there's a lot but those are the main ones right there that's the bread and butter of what you're going to be doing like windows and mirrors shiny stuff most things are going to be like the rubber honestly they're like kind of this blurry mixin it's up to you to kind of understand that and I'll be taking you through that and that's how you start to add realism kind of for free to the scene and I just want to end by showing you so that we have prism so that we have what's it called a perspective in life of doing this process what did the what did the DP do here today we added this big light source and we picked the angle but so much of the 3d process um is picking the texturing so that's something I had to learn the hard about lighting in 3d like oh I'm just gonna add lights and I'm like why don't these things and look good when objects just automatically look good in 3d it's like so you have to know a lot about the textures too so it's like you're kind of the production designer and the art department when you're doing scene design you'll start to realize that and if you're like me I always had my hands way deep in the art department they were always angry at me I'd be like moving couches and didn't talk about paint colors because I kind of understood the final image of the photography so I think I had a somewhat better perspective on what color the wall should be because I knew how I was going to light it and what tone I wanted in the color correct all to say that in CG while we're doing Cinna design the lighting is the easy part in the fun part honestly the nitty gritty gets into the textures and you'll see when we start to go texture this car it's a bit of a project but the good thing is you do the project once you learn it and then you can save that car bring it in it always looks good you don't have to keep doing this over and over again but this will start to be second nature to you the lighting probably already is second nature to you framing up with the camera already second nature now we're just trying to get to the point where it's like well how do I make these objects look the way that I want to so I can communicate to my client what the final photography is going to look like whoo so that was our look at textures that is the cleanest and fastest presentation that I could put together I think it should be able to get you all the way through it if this is your first time in 3d maybe you guys are smarter than me but I would recommend doing this exact exercise with this exact light so that you know that it's going to reflect correctly don't use space lights don't use Kino flows use the use the diffusion frames the four by oh the twelve by for this test um so that I can ensure you that the reflections are going to be correct and next episode guess what we are gonna is might be two parts actually mostly we are going to go on to sketchup warehouse 3d warehouse sketchup 3d warehouse we're going to download our favorite car I'm going to download mine you download yours and I am going to show you how to clean it up because like it I said before if you have visualize or studio r17 cinema 4d it automatically imports the the C 45 out of the Sketchup file it looks pretty good like 60% good and then we got to do 40% of work but like I said you do the work you save the car you're good to go and you just build it into your workflow it's not so bad you know you typically don't have to visualize like ten cars you're gonna have to visualize one let's go take a little prep work so we are going to move on to making a which I know everyone's excited about DPS that shoot cars it's going to make you feel a lot better and you're going to have some really cool imagery to bring to your meetings in scouts and you might find yourself getting hired to shoot a lot more car jobs after you start visualizing this for them so I will see you guys on the next episode I hope you learned about textures today and you liked it this is a weird way to end the episode I'll see you guys later bye

Channel: Cinematography Design

Views: 285,812

Rating: 4.8636365 out of 5

Keywords: cinema 4d tutorial, learn cinema 4d, how to light a car, cinema 4d materials tutorial, how to create a car paint material

Id: auaPOX2TXUI

Length: 40min 28sec (2428 seconds)

Published: Sat Apr 09 2016