Sasha Vinogradova @ NAB 2020 | Maxon Cinema 4D

hey guys thank you so much for joining me today and also wanted to say thank you myself organized in this event during this weird time when we also separated to give us this ability to connect and to share some knowledge and inspiration so a couple words about myself my name is Sasha aagha Dima I'm an art director at the mill away you can find some of my work here as you maybe know Emil specializes in video production motion graphics we do lots of advertising some titles for movies and TV shows graphic for movies music videos they are we are experienced and lots of lots of things so I wanted to share my reel with you [Music] [Music] and I'm just going to scroll through some work while I'm talking I started working in 3d almost 13 years ago I do motion graphic for the last four years also there was an extended period of time when I was working mostly in key art did lots of posters for movies and TV shows also do some book covers and in most of my work I really like to combine 2d and 3d I think it gives you an awesome opportunity to get the best result in sometimes shortest period of time one of my latest projects is the short film cold forest if you don't mind I'll shoot I'll share it with you that one too and I just wanted to say that this short film had to premiere in a festival called monster in Portugal but unfortunately that animation festival got cancelled because of the corona virus so that is sort of a little premiere so I hope you will like it [Music] [Music] [Music] so yeah I wanted to really thank all the people who helped me to work in it and all my beautiful milk of our curse and me'll who helped to color it so thank you very much so let's jump into today's project I called it creating a surreal portrait lily of the valley and that's what we're going to do today as I said earlier I I came from 2d background and I really like combining 2d and 3d I think it sometimes gives you an awesome result in the relevant to a short period of time and especially with the things like portraits it's really really hard to create a realistic 3d portrait but sometimes it's just easier to take a beautiful photograph and it will have all the life and sometimes it's going to be just more top impactful so let's talk about the project so workflow possibly this workflow is nothing new to but just to structure the presentation I'm going to talk about it a little bit so as a any good project you want to start with a sketch I knew that I was going with a portrait so I first found a stock image I like but it and then I made a little sketch I really like a nature theme so and also I already had a material library with some mega scans some projects some models I done previously also I wanted to show you guys my technique on how to play moss so I thought it would be nice to create this kind of look that nature is almost bursting from out from inside to outside so that was the sketch then I jumped into ZBrush where we're going to sculpt a raft a rough sculpt of our portion then we're going to bring in that sculpt into cinema and camera project our texture on that sculpt then we're going to set up our models we're going to bring some existing models going to model some new models then we're going to set up material and lady that's going to be red shift and then I'm not going to talk much about animation but final render some set up of depth of field and that's pretty much going to be the final result which again is here so let's jump into ZBrush sculpting so let's talk about couple highlights how you can sculpt something like this in ZBrush I'm not going to go through it in all the details just highlights pretty much I really like using this function see-through you can put your photo underneath it and match your geometry in this case I didn't want to sculpt things from the ground zero so I used some of the existing tools in ZBrush if you look here I used Julie for the body and from projects I used dem ahead female and I pretty much combined those two I try to match and go a little bit I use this function here in documents app the app link properties to store my view so I can always come back to it then very important function is draw cameras so you can store your camera and later on when you're done with sculpting you have it with that happy with that you can export it through every X expert import so you can use it here expert cameras obviously I used lots of dinah machine and zerah machine to combine it into one shape and in the end in order to have lighter geometry I used this summation master pretty much - triangle triangulate my model and to have a lighter final model I'm going to turn on a fast-forward of my process so you can see how I built that particular sculpt and here I skip to my final results so after you're done sculpting your portrait in ZBrush you can bring it into into cinema by file merge and your FBX it already will have a camera so now we would need to project our texture into our geometry so let's create background and let's create material C for the material fly to that background and bring our image stock image let's match the size of the render and document I actually already did match it make sure it matches the father you picked so from here I would match background in an exact way I need things to be transparent so I'm turning on x-ray and without rotating camera I'm just matching matching the size I'm trying mostly to align nose nice [Music] cool so now when everything is on line is aligned I can do my projections it doesn't work straight away with the redshift material you need to use cinema 4d material to create projections so that you can apply that background material onto your geometry then click on material and change projection method to a camera mapping from there you can bring the camera and you can see it but it does not align a little bit because our ratio is not right I need to change it to custom and calculate so now it looks right and in order to bake it so to not change I right click on material and click generate UV coordinates so now does not depend on a camera anymore it is just our movies let's do the same for the hair use our material buy material then change in projection method method to camera mapping very novel camera change cost change film aspect to custom click calculate all right click on material and click generate UV coordinates cool so now I want to check how it looks and for that I actually want to create redshift material and apply it to both portrait and the hair then open material bring our texture connect it to surface and I'm going to change my layout to retro fly out and turn on IPR so our original resolution was huge I just want to lock it and change it to something smaller and in here I'm I'm going to duplicate the camera not to lose it I'm going to lock it and like I see 4d tags okay and in here let's try to rotate and see so yeah that's how you would do 3d projection pretty cool okay so from here I'm going to jump into one of the files I did earlier going to do it a couple times through the whole process so next step would be to break the shape before I started this model I actually had a very rough sketch which looked like this so I knew I wanted to exploit her face and pieces and add some greenery sticking out for that I created or an eye fracture which you can find in here or annoy fracture and put it put my head inside of it in here let me pause my APR you can see that if you go to source or in generator I did exponential and those settings and then an object I have set it fragments fragments just a little bit to have the space between them I clicked on whole object and added a slight thickness thickness to my objects so you can see that there are not just think plates but there are some geometry another important thing is to go to war annoy selections and check inside faces and outside faces so we can apply different materials on inside and outside as you can see I used my previous material and I grabbed a selection from here for outside faces and I created just regular regular redshift material and apply it to inside faces from here everything got kind of heavy my home machine is not extremely powerful so I just collapsed everything from here I deleted some of the faces which I didn't needed to use and also adjusted some pieces of her face to make some space between them that some plants are going to grow through one thing which was bothering me that are inside that inside faces had the same material as outside and I needed them to have the same material as those sides I couldn't find a better solution than just do it by hand if you know better solution please let me know I'll just show you how I did it again not ideal but that's what it is I would select my piece then go to inside face selection and then with UF which is field selection and with shift at inside face I need and go to select set selection so if you see now it's the correct material I had to repeat it with every piece which was a little tedious and again let's do it again just so you can remember I selected the part I needed then selected the inside faces selection you F shift and select and sad selection so so it's correct cool because I don't want to do that again I'll just going to switch to the next file where it's ready to go so here all the selections already finished and I would like to bring some plants and setup materials and scene for this so for the plants I got this Magus can model of Lady of the valley plant but it because you can see it doesn't have actual flowers and I really wanted to have flowers so I decided just to model those separately and use texture from other mangas can model from this one so let's look into how to model flower for this okay so I got some references of flowers I wanted to build I hope you will just remember them I'm going to give them on my second screen let's build it let's create a new project create plain polygons all got not plain and change the size to 1 and 1 to make it a little bit more closer to real-world size and collapse it see so this is the base for my petal I'm going to move my pivot point to the center and I'm going to create corner put my polygon inside of the corner change it to linear to radial because there are six petals and to change count to six and radios to zero so this is the future future flower from here I'm going to point selection selecting both points with shift with the scale bringing them closer with space I'm switching between two tools I use recently I'm going to switch to edge selection and from here with holding shift I can extrude I can extrude my edges also with W I can switch my coordinates from world to local so in this case I want world again with shift extruding okay then you'll be changes selects this roll-off polygon polygons mm cuts it in half oh I think it looks pretty good I'm going to put it without inside of the tour bus month with subdivision surface I'm sorry and maybe change things a little bit cool I'm pretty happy with the way it looks maybe whole frames it maybe open it up a little bit more cool now I'm going to switch back and forth with my UVs and regular interface let's add some movies to this pedal going to UV edit I'm going to bring this texture and you take note not a new texture file open texture and we're going to bring this texture so as you can see it has nice pedal it doesn't match our shape but it matches our general look so I'm going to select all my polygons I'm going to face it towards camera go into projection projection and click frontal and relax and now when I'm going to bring my previous texture I can match it so I just need to place it where I need it [Music] with space I'm switching between tools the flowers are really tiny so I think it's fine if it's not ideal but good enough and so now I'm switching back to my standard so pedals are done let's model let's model inside of the flower those little tones and this essential part for that again I create polygons change the scale of this polygon right until hi my flower with C collapse it bring my pivot point to the center with a scale change the shape of it leave pivot pivot mode and Oh old frames it frame it frame it doesn't frame it for some reason and from here let's adjust the shape of it so look again approximately like this thinner in the beginning and in the end then I'm going to do the same you'll be select my green selection and M to split it apart one more time mmm splits it more and then I'm going to extrude not extrude but move those ribs a little bit cool and now I'm just going to duplicate the same corner remove my previous polygon put it inside of this corner let's unhide the flower go so I want to adjust flower a little bit let's change it to fix clone position so we can adjust it cool close enough and and then I'm going to place it again into inside of my subdivision surface so now let's create ut's again let's go to to UV edit select out our model place it face in the camera go into projection frontal relax file open texture and let's place it in here where we have this nice transition from white to yellow I think it's pretty cool spot alright tailing it 90 degrees which is a little slow place in it and scaling it cool again going back to our standard you leave you you I this is good now let's create the middle part well we try to create from disk again small radius 116 polygons is good alright collapse it to the sea here I'm going to move this point with KL create an edge double click on edge selects the edge changing the shape ms creates a little bit of level dressed in more shapes maybe couple more levels if you like so yeah this looks this looks good to me and same deal let's go to UV interface in here I'm selecting all my polygons I would like to reverse my normals because they're flipped right now place it to the camera for projection the projection frontal and again file open texture so I need this gradient from white to yellow which we have an approximately same place so let's place it there it go and going back to the standard from here let's jump into the file I already built that's how the final flower looks if you as you can see I added those steams here they've been dealt with a sweep and the same way I placed them where I needed to be on the texture I didn't want to collapse this swip because I wanted to have ability to control it if I need to and the little leaves same deal so those are flowers they're ready to go and in the files I opened magaz cans so I took just one part of it I usually select it with double click u P separates it I deleted everything else to call flour brought it to our scene and everything a little bit bigger the flour a little bit bigger one thing about this flour wanted to change pivots so it matches the beginning of this team so it's a little easier to place and control okay let's place it in the middle on the plant and let's bring this into our scene I'm going to open my final file switch my your eye on red shift and here let's talk about setting up the scene so first of all we need some lighting and if I change this into the clay mode you can see that the lighting I set up kind of matches the lighting of the image we have one soft area light coming from the top corner which is this light let me change my render to camera to this camera so I can rotate and still see in the same image I'm going to hide all this keepers cool so see I have this softbox area light then I have dome light without it shadows a little too dark and you know want to have such a black shadows and also I have a little bit of point light coming from inside otherwise but again look too dark and unnatural so this was my lighting and let's talk about materials so first of all I switched my material on the girl herself from just flat to a redshift matte shadow catcher that this node allows you to mimic shadows on flat images so pretty much I grabbed the texture we used earlier for for the girl and fed it into background in my matte shadow catcher and that square those shadows coming from so if we would connect it straight no shadows with shadow catchers there are shadows which is super super cool and I used the same shadow catcher material on my planes for the background which I just painted in Photoshop and now let's look into our plant materials so it's very simple setup I just took textures from from nagger scans fat albedo into diffuse color texture disregard this one I didn't change anything I played with it a little bit but then just default was better the refraction the translucency texture goes into refraction and one thing you need to do is to mark thin-walled and my weight of the refraction is point five for some reason this model didn't have roughness but it had glossiness which is fine you just need to invert it and you'll get roughness make sure you have gamma one because it shouldn't be in linear because it's black and white map then I used displacement in my bump map it's not really right but I thought it looked good enough and for the flowers I used pretty much the same the same material the different textures I just didn't I just really didn't use a opacity for this because I didn't need to also as you can see I added some little grasses from another magazine model and that is pretty much it that's how this scene was set up pretty simple one thing I wanted to add to it was it was some moss and hair so as you can see here I have a little flyaway hair which pretty much just a bunch of splines with a hair simulation it and then hair I turned on wave just a little bit and let's look into how I set up the most so if you ever try to google it there's this awesome tutorial which tells you how to make moss I pretty much used the same the same method it just I didn't use the brush for it let me start with new project save project as Moss zero two and first of all I'm going to top out Lee brings me to this view out to the back and in back I'm going to place this the most texture from from Magus cans so texture and this one in that tutorial the way they do that they do it in ZBrush I prefer I prefer doing it in cinema so same deal I'm just going to create polygons and then place it where I need it hit see and there's awesome tool called m.e polygon pan and pretty much I'm just doing very very rough polygons and modeling and you don't need to do it for every moss if you want to have more variations you're welcome to I did just couple and it was good enough and here I'm just sort of doing like an overview how I did it so it's not as detailed with using polygon pan pretty much with control I extrude those edges with control I can delete it and it showed on example of those five a very important part of it is to have to match your corners of the texture so if you match it here and then you bring your texture later on it will it will just stick in right place so I March everything connect objects and delete and then from here um I'm bringing my material material I'm bringing that texture of the moss and I'm changing it to flat making sure that it sits in the right plane and this is the magical button fit to object so you can see it's not aligned because it's just not the right not the right angle so you just need to find that right angle some point you will oh here I've got it aligned so perfect and from here I'm doing jr. ATV coordinates so now those polygons know that they belong in the right spot I can believe my corners then I can separate those in groups so now it's just separate polygons one thing you would need to do is to place axis of the pivots in the right spot and from here you want to make them look not as regular so not as plain and you can use soft selection if you want to pretty much do it some dimension to it and now you can place them all in the center actually here and if you place this into the corner that would be your most in my case I already had Moss from the other project if you take a look it's just lost yep so here is just a bunch of most part I try to keep it low poly just because it's already heavy with so many instances so I'm going to bring this Moss into the sin and I want to place it on the model and I want to place it in very particular places in order to control it I'm going to use vertex map for that I'm going to merge everything and because it came from a Voronoi fracture it already has some it already has some of the Arctic maps and the only thing we need to do really here is to paint where we want it so as you can see I can just paint over it and there are different brushes so I don't want to have too much on her face it's more about like ages so I'm going to remove I'm going to remove it from some places I also can smooth it out if I want to and then when I'm going to I'm going to show how to apply it so how our clone are ready and change its settings to object change instance mode to multi instance and put our object inside of it I don't want to place too many instances right now so I can just show you otherwise it's a little too heavy I usually will stop the number just for the final renders so as you can see here corners everywhere let's use let's use our shader and in shader change scale to minus one and in off let's place our our vertex map into the into the fell off we can make almost just a little bit bigger so in this way we can control whatever we'll have our our corners cool so if we come back to our final file which was well 11 and here's the final scene I already edit most in here it turned out pretty subtle but I actually like that it's so Sal and the only thing which is really left to do is to add some depth of field to your scene because it really helps to blend 2d and 3d together here's actually how it looks with no depth of field which looks fine too but it just adds this nice final touch in the end so yeah we just need to click on override enable the stop amount of that fulfilled I like keeping my aspect this Oh point 66 means that it's pretty much like an anamorphic looking look here mmm Oh bokeh I'm not sure how to say that right also I applied this image which creates this nice color aberration effect that is actually something I followed from grayscale Gorillaz tutorial and that's pretty much it you can set up settings you can optimize your render for the settings and and you make your camera and you are ready to go and here I just wanted to show you a final result some of the different angles a little bit of camera move movement and also wanted to show you the final comp image with a little love from Photoshop but yeah that's pretty much it thank you again for watching again my name is social and you can find my work in here I hoped you liked

Channel: Maxon

Views: 94,183

Rating: 4.9668651 out of 5

Keywords: c4d, cinema 4d, maxon, modeling, modelling, 3d, animation, rendering, motion graphics, mograph, graphic design, illustration, photoshop

Id: _aFgahwHf4k

Length: 57min 12sec (3432 seconds)

Published: Tue Apr 21 2020