Sculpting in Cinema 4D R19 Crash Course

hello we're gonna tackle a bit of a larger topic today we're gonna go for cinema sculpting tools now if you've never doubled into these this will be a pretty good video because we're gonna hear it right from the start and if you're thinking you know sculpting is not really something I want to do you're probably wrong sculpting is a great aspect of cinema even if you're thinking well I don't want to do humans or creatures or monsters it's useful for quite a few things it's great for doing landscapes riverbanks clifftops and you know what if you're doing products chocolate bars any food based items you're going to find that the sculpting tools are pretty good for making these items really quickly so let's let's have a look at your showing now the first thing you're going to want to do is switch your layout what you'll find is you do have this sculptor menu at the top however it's not particularly nice trying to use this plus you do need to see a lot of other things so what you should probably do is go up to the top right corner and change your layout to this sculpt layout so with this what you're going to find is you lose all of your materials and animation settings you're going to lose your list of objects although we'll just say it is now a tab just to the side and what you'll get instead is a set of sculpting tools down the center so let's go ahead and throw in a sphere objects just a nice bit of geometry to start working on and because we're going to start sculpting we're going to change the shape as ever we need to make this thing editable so top left corner make editable now if we get in a little bit closer how do we start sculpting how do we start using these tools now although we can use these tools don't do it yet these tools will work in one of two ways they will either start just moving the raw points and polygons which is what they'll do at the moment or they can create special sculpt data so we want to go for the latter because that's really kind of the point of this cover system so to enable to get it going click this subdivide button at the top now Dewberry mind this subdivide button is completely different from the sort of standards subdivide command that you may be used to as far as your polygon modeling goes so utterly different exactly the same name but different tools when you press this one here nothing will initially happen in fact let me just show my wife frame mesh so you can see this I have this many polygons right now when I hate this subdivide button nothing he doesn't change this is because of the first click on a subdivide button simply activates the sculpt system it doesn't actually start subdividing just yet but a some quick look to the side because when we click that button we get this this is gonna tell us how many times we have subdivided how many polygons we have and how much memory it takes so useful information when you're sculpting because this is quite a resource heavy action to do in cinema so what gonna do is we're gonna hit some divide a couple more times we're going to go subdivide okay so this is basically telling us we've now subdivided it properly once and we've got about a thousand polygons let's hit subdivide again now go up to 4,000 and polish now and let's just hit it once more let's go up to 17,000 and polygons now when you do your sculpting you get to choose what division level you do the sculpting - so just underneath we have these increase and decrease buttons so really can think of this subdivide as the maximum amount of detail this object can have so I can only have at most 17,000 Poly's worth of detail but I don't necessarily want to do all of my sculpting on this sort of high resolution object I have here I may wish to sort of simplify it a bit and do some bigger broader changes so you can actually step down and increase your subdivision whenever you like so long as that subdivision level actually exists we'll deal with this a little bit later but just be aware you can actually step up and down you're working so let's just jump straight into using some of our tools shall we so I am going to turn this polygon mesh off I'd actually want to see these lines all over my object let's go look through these so first of all we have the pull tool now when you choose this you will get P brush and it's pretty straightforward you click and drag and it broadly does what the tool is called so as I draw with this did you do back and forth this is gonna have been pulling the surface up towards us so if you just stare at the object in your click and drag you might not really realize what it's doing you get some different shading but it's kind of hard to tell do look to the side and it's quite obvious as to what it was actually doing or if you're working quite low race you can leave that polygon mesh on and it will so give you another visual indication as to what's happening okay so this is the pull talk I will just say with all of these tools in sculpting you can invert them and reverse them with a ctrl key or if you're on the Mac could try the command key that might work instead but what I mean with that is this is the pull tool but you'll notice there's no push tool but that's fun because we can invert everything so hold ctrl and now brush on the object and you'll notice it now starts pushing the surface away from us so we can create various indentations into the surface we've got a lot of settings down here we will come back to these because there's quite a lot of useful stuff down here but just for now the main things you need to know are you have a size and a pressure and this is basically just the size of your brush so small brush large brush and pressure is how strong it is so they essentially said how much it's gonna do if I have a low pressure this is not gonna do that much but if I have a stronger pressure it'll move much much faster Wacom tablet users keep in mind your pressure sensitivity will also control these now just as a quicker way to change these if you're using a decent mouse with a middle click hold down the middle mouse button it might be a scroll wheel depending on your mouse but you'll find you can move your mouse left and right to choose the size of the brush or you can middle click up and down to choose the pressure and how strong a brush is going to be so just a nice quick little tip there to get some more control without having to jump down into these settings all the time ok so let's go down through these these are this some we'll come back to these settings afterwards so pull well yep it pulls that was nice and easy grab very similar and I will just say if you have used the magnet tool in the past in polygon tools it's 99% identical grab will literally just pick a part on the surface and pull it further away so similar to the pull tool except the pull tool just slowly slowly increases whereas grab just lets you grab it and move it to whatever your mouse pointer is smooth well you can probably guess what this one will do if you've got any detail or any lumpy bits the smooth tool will smoothen and kind of melt that surface down now for these tools I'm not going to go through them in order because in order for me to show you certain tools I have to show you others first otherwise it doesn't really make that much sense so I'm just going to skip over a couple for a moment I'm going to come down to the knife tool now again if you've previously used all the versions of cinema and you think oh right I know the knife tools is for slicing polygons into the surface not anymore that's why they renamed it the knife tool is literally like taking a knife bit grim jabbing into a surface and sort of sculpting it and carving it around so if I grab the knife and I try to carve into the surface it's literally lose that wireframe mesh it's literally going to sort of stab it and leave this trail behind now I will say certain tools do need more polygons than others so I've been ok up until this point with my pull and grab tools because they just have softly moved the surface around the knife tool is trying to make some detail and with 17,000 polygons that's really not that much so I am gonna increase my subdivision even further I'm gonna go for something around the region of 1 million polygons so subdivide 70,000 subdivide again quarter of a million and one more time might take a moment whilst it processes it and thinks about it but I now have 1 million polygons now when I use my knife tool I should find I can get a lot more detail when I'm slicing into it with a knife there we go far more detail far far crisper so that's what I've told that and I will just say this one works very very well when you invert it so rather than sort of stabbing downwards into the surface hold ctrl and you'll find it inverts it and it now pulls up the surface this is in a nutshell one of the best ways to do chocolate bars a lot of chocolate bars would just have chocolate drizzled over the top think of a Mars bar or a milky way or something like that if I just get a larger brush and I weaken it down a bit so it's not too strong a few drizzles some over there whoops hold ctrl so it goes the other way ctrl click so there's one bit of chocolate there's some more this more maybe another little bit down there boom that is the perfect top to a Mars bar so this is why it's quite useful for a lot of other areas outside of your traditional sort of a character sculpting and modeling okay so there's knife now pinch pinch is a kind of exaggeration tool I will just say at this point there aren't quite a few tools in here which are very similar they all cover quite a lot of the same ground as other things and pinch is one of them pinch exaggerate s' whatever you have and the direction you pull your mouse in makes a big difference to this so for example let's say I've got this sort of earth Ridge over here for that bit of drizzled chocolate if I run my mouse back and forth across this with a pinch tool it will exaggerate and get crisper and crisper as it's literally sort of pinching and pulling it in but the question is does it pinch it this way or does it pinch it this way is it horizontal pinch or a vertical one well that's why your mouse Direction makes a big difference take this horizontal bit here if I run my pinch tool up and down this won't get any more details because it's trying to pinch it vertically so if I run my mouse up and down here pinch just doesn't really do much but if I run it horizontally ah there you go now it's definitely pinching it so right basically run your pinch tool along the contours because that's the direction everything's gonna get pinched in okay now there's quite a few tools which are here to remove detail we've already kind of looked at one of them smooth so I could smoothen this off and it just sort of loses all of its detail as it sort of melts down some do that another choice you've got though is wax now in traditional sculpting if you make a bit of a mistake let's say you're chiseling into marble you can fill in with wax and also fill up that indentation till it reaches the top and that's kind of what wax will do if I've got a bit of an indentation I guess go back over here it will fill these indentations in let me just make it quite weak it'll fill these indentations in and sort of raise the surface up so you're filling in the gaps but if you keep going it will keep drizzling wax on top until it gets higher and higher and higher and higher so you really are which leads some obviously not literally but you are effectively drizzling melted wax into the onto the surface very similar though is flatten flatten will look for detail and it will just smoosh it into a completely flattened off canvas it's literally again maybe not literally it's effectively like sort of hammering on the surface to flatten it off but again there's another tool called scrape scrape will also remove detail this one is quite good when you want to create this plateau at the top of a surface so if I have these melted chocolate bits here all sticking out you can see those if I scrape them I guess it's a bit like taking a razor blade and just removing the top surface of an object just sort of skimming it off so if I run my mouse across here it skims the top surface so it's left this area down in the middle but it's skimmed across the top there and giving me this sort of flat plateaued top surface so it looks like someone's taking a razor and sort of skimmed it and trimmed off the top surface so yeah again it's a bit different it has its uses but you can see it is really just removing detail again and sort of on to the final one of these so there's another two more Phil Phil is going to be very very much like the wax tool if you have any indentations the fill tool will fill those in first and raise it up until it reaches the level of the highest bit around it so if I find these sections over here Phil won't increase the height of this outer section it'll only fill in this middle bit so as I drag over there it fills it in and it raises it up so again not a million miles different from what the wax tool does so yeah use whichever tool you think is the easiest to handle but the final one down here and this is the sort of slightly different one potentially the most useful one all of these tools are gonna take your surface and do something to it they're gonna raise up the surface they're gonna trim a bit off the top but they're gonna hammer it flat the erase tool will take all of your brush strokes and remove them leaving you with the original shape that we were working on so all this nice lovely detail we've got over here for example arrays will completely and utterly obliterated taking me all the way back to a perfectly round sphere and that's one of the beauties of the sculpting system in general all of your brushstrokes are stored in a sort of layer of painter a layer of sculpting there these are not permanent changes were making to the surface so we can remove them we can layer them up we can simplify them there's a lot of nice things we can do because of this fact anyway what's that last of the tools so yep yep the only ones left are inflate and amplified will come to repeat in a little while it's a bit of a different one but inflate and amplify but again they really do what the name suggests so amplify exaggerate all detail so pinch is good fading sort of extra little fine crispness to a surface but amplify will just take anything you have and exaggerate it so high bits will get higher low bits will get lower whatever detail you see there there will just be a lot more contrast as it really exaggerates and pushes and pulls everything further than it already was so if you've if you've sculpted something but you've realized all these are these lizards scales aren't deep enough or this chocolate drizzled on top hasn't gone up high enough don't put more on top just exaggerate it with the amplify tool and the inflate tool well you run it round and it inflates the surface it just sort of gets larger and more bulbous and it comes out you know there it is that's what it does have not the most useful of all the sculpting tools okay so that's broadly what your main sculpting tools do let's have another look at some of these settings down in the corners we really haven't looked at many of these at all so settings okay link size pressure and symmetry you may notice that all these tools pull this one has a brush size of 47 grab this has a brush size of 60 knife this one has a brush size of 34 they'll have different brush sizes if you just want them to simply all be the same you can link the size and now they will all say 24 no matter which tool I use they will all have a brush size 24 and you can probably guess what the others do so pressure I can choose how strong these effects will be and then they'll all have a pressure of say 38 oops what the ones which have a pressure will anyway so that just saves you a bit of clicking around if you want to try and duplicate your settings blah blah blah don't worry about this now presets cinema ships with a lot of presets for your brushes how these work though in my humble opinion this setting is in a bit of a weird place because you might look at this and think well I'm using my pull tool and these are the pull settings and I'm gonna load a preset for my pull tool no these brush presets if I hit load here they are these are various patterns scratches damage screwheads pretty patterns zipper patterns there's also really nice useful stuff in here but these are not presets for the pull tool these are proved these are presets for whatever tool so some of these tools are designed to be used in a certain mode for example if I want to draw a zipper on to a surface this would require putting lots and lots of little teeth repeating in a straight line that tool really needs to use the repeat mode and it would you can see here I have the pull tool activated but if I load ten at the bottom a zipper preset cinema automatically puts me into the repeat tool so these are not settings for at all these are settings which will activate at all and fill in lots of details for you so don't don't slip into that trap but by the way that's really what the repeat tool is for it's for any brushes any presets where it needs to repeat something so if you're putting lots of rivets in lots of take a look a lots of little zipper patterns these these are things which keep repeating again and again that's what the repeat told us it just repeats the same brush in a row as a quick example is our zipper repeat brush so you can very quickly stick a nice zip on your surface good for doing sort of clothing or Frankenstein's monsters kind of kind of images okay but let's skip the presets for a moment because the presets will do things I haven't explained yet so let's just come back to those in a sec so it size and pressure they're easy now steady straight let's go back to the knife tool for example steady stroke is quite a nice simple system which prevents you from having a wobbly jagged hand or I should list it with the pull tool because I can do it with a very small brush okay let's say I'm trying to draw a nice smooth curve with my portal I'm trying to do a nice smooth curve but my computer's a bit slow or I've got a bit of a wobbly hand or I've got a rubbish Mouse and as I'm trying to draw this nice smooth curve I'm sort of jittering around a little bit I can't exactly get this nice straight line that I'm after I am exaggerating this a little bit to demonstrate it but you can see what I mean steady stroke basically puts a leash on to your brush if we turn it on and we crank up the length just to really show what it's going to do when you start painting you will see this blue line so my pull tool right now isn't pulling anything but when I get to the end of the leash do to do to do to to to to there it starts drawing you can see the pull tool is now activating but only activates at the end of this blue leash the idea is if you have a wobbly hand what we hand doesn't draw a stroke I mean even if you do get far away enough and you have a wobbly hand so I'm really exaggerating it here now it will still draw a smooth thing because it's only it's only drawing at the end of that blue leash so I can make wobbly as my hand might be Wabble Wabble Wabble Wabble Wabble Wabble I can draw this nice smooth stroke without without anyone s in it so that is what steady stroke is it's quite a nice simple little tool it's so usable on pretty much all the sculpting tools and it works rather nicely so just choose how long the leashes and away you go let's see spacing not too much use here to be honest with the spacing spacing just keeps repeating your brush but given that we have a repeat option it kind of makes it a little bit redundant I guess the only thing I could really suggest for something like this is if you need a repeated pattern of really simple just little dots for example or really simple sort of little brush strokes it can have its uses so normally when I write when I draw this you get this one single continuous line well if I turn on spacing and I say spread them out really far then when I draw I'll just get this series of little dots dog fact let's increase the spacing further let's increase the pressure so when I draw so you just it just it it's as if you're going click click click click click click with your mouse I guess if you're doing sort of a little sort of cut here little perforations on a surface you could you could do quite easily that way there you go lots of nice little perforations or bullet holes from a machine gun going Ratatat at a plane maybe anyway that's largely about all the useful things don't worry too much about these other bits at the bottom you know they're not the most useful stuff so let's turn that off for a second and let's quickly have a look at some of these other bits so your two or three main other areas are going to be stamps symmetry and stencil so stamp basically you load in a grayscale image and cinema will stamp it down onto the surface and to be honest this is where the presets come in quite handy if I load in a preset brush so if I load in this rivet head now just watch out with some of these presets have a look at the file name you see this thing here is called capstan screw repeat this next one here is called capstan screw single this is something they use in the naming of the files to try and give you a bit of a hint as to how it's going to work so the repeating one if I know the preset this is going to allow me to sort of keep drawing lots of screw heads so as I click and drag it will keep repeating as it follows my mouse so let's just get a bit of a smaller brush put some over here so this is the repeating brush do-do-do-do-do-do lots of rivets whereas if you go for one of the presets which says single you will get a single screw head but the difference is when you click and drag you don't get trail instead what you do is you get the ability to choose how large that brush is gonna be so I'll go for a large screw there medium screw there a small screw here you can do some interesting stuff with this especially when you start looking at the presets like the cracks and the breaks because if I want to put a crack in here I can click and drag and this will choose not only the size of the crack but also the orientation so I can put a nice bit of damage running through there very very easily but what we're essentially doing here these are stamps we are stamping down a bit of artwork into the 3d mesh so you can either just load the presets in to do this and you know oops load them under the the brush presets and there are loads and loads of them so you're not gonna run out of these anytime soon or if you want if you have your own grayscale image you can simply load it in as an image a bit of advise go raid the ZBrush website presets pretty much all of their brush presets are just grayscale images and we can we can kind of steal them teehee but in here you do every few choices you know how rotated should it be how large do you want to flip it's fairly booked standard stuff anyway they go there's your stamps and I'm going to skip over it for a moment to the stencil because stamps and stencils are very very very similar a stamp is a one-off where you just go kachunk there's your image the stencil is a bit different let me yeah turn this off like fact let me reset my brush entirely so I have any weird settings turned on with this stencil go to the stencil section down here where it says image click the button to the side and go find a nice grayscale image or just actually technically have to be grayscale this up so if I go to my pictures and I look at my textures I've got images here of crocodile skins sponge surfaces various different sort of patterns and textures and we can sort of firm what's the word is it is it is a brass rubbing we sort of go to old tombstones with some paper and a crayon and you sort of rub the crane on the paper it's a bit like that so let's say I go for this crocodile skin okay we get this ghost not sure how well it'll show up on the YouTube video but there is this sort of ghostly crocodile skin image in my viewport here let me just turn up the opacity of this a little bit where we go and transparency there so I can choose how strong this picture is so this is what we're looking at this this crocodile skin and down here in the settings you can choose how transparent it goes what angle it sits at how large it should be so use these to position your your image your artwork over the surface and make it a bit more transparent so you can see the object underneath but we can now paint and brush onto the surface so when I click and drag so this is using the portal when I paint we get this you're gonna see that crocodile skin rubbing and appearing on the surface below if I load in a different image so let's just go for something a bit more obvious maybe this is a series of keypad buttons I can stencil these on and go to digit to do to do to do to do to do but you can keep moving around and keep applying these so this would be great for example for applying fish scales to a surface because you can just sort of sit there and endlessly brush these things onto the surface quite a nice thing just great for putting a large scale texturing onto a surface anyway they go there's your stencil let's turn this off the last thing we've gotten here really though is the symmetry this is the ability to flip your brushstrokes from one side to another so if you are for example trying to do a human character or some other creature and you're thinking well this side is the same as the other side it's a it's a complete mirror well go to your symmetry and choose whether you want it to flip over X Y or Z it's usually X X is a left to right mirror so if I get my brush anything I do on this side make a bit stronger and a bit smaller anything I do on one side on the outside as well now I will just say if you have been doing your sculpting and you forgot to turn on the symmetry option it is possible to apply symmetry after you've done your work so if you've drawn and sculpted half of your amazing sculptor sculpting have a look over here we do have a sculpt symmetry button as well if you click on this this is a one off tool so you say essentially sculpt one half of the object run this command and you can then flip the whole thing over to the other side so again you just choose X Y or Z and when you're happy you just hit this mirror object button and it will simply flip everything over from one side to there so it's now completely symmetrical so that's a nice little useful thing for you if you don't want to do symmetry as you're working right let's see what else do we need to talk about so that's your tools that's pretty much most of your settings down there okay layers now when you're doing this sculpting your drawing that you're doing your sculpting it's not just simply applying it to the mesh and then that's it you're done you're actually drawing these things onto separate layers so I've done all this lovely beautiful artistic sculpting onto my base object layer what I can do if I want to add some extra detail but I'm not sure if I want to tone it down later or if it's too strong or I don't want to accidentally ruin any of these lovely screwheads I've got on my surface here you can put on a new layer now this whole section up here this is pretty much the same as Photoshop Slayer system so these are layers you've got the opacity at the top and you can add layers add folders delete them clear the layer so it resets it and then you've got options here for flattening layers down but in its base simplicity click this very first button here to add a new layer maybe give the layer of sensible names such as fine details and you can now start doing all your nice little fine details on this layer so I could get my knife tool and do some little sculpting around there a bit of this over there bit of this bit of that but the beauty is this is not just blandly on the surface I can turn the layer on and off so that's sculpting I've done is sort of safe by itself or I can tone it down if I think my my fine details here a bit too strong I could just turn the strength down and ease back how strong those details are it's quite useful and again feel free to make lots of layers make folders arrange this stuff however you like it's sort of the normal Photoshop style and ok let's see go down the list here dum-dum-dum-dum right masking ok so if you're familiar with this in Photoshop it's the same thing if you're not let me quickly show you masking allows you to choose where you can and can't paint so let's say I like this error here and I don't want to accidentally ruin it go to mask and you know have a brush you can click and drag to paint this is essentially an area which won't be touched so there you go I've masked off this area and now when I use any of my brushes I can paint over here perfectly fine to do too that's all good but when I get to the black area nothing happens it simply stops so it's just a way for you to quickly protect certain areas from being accidentally sculpted onto and down here all these settings again they should be fairly intuitive invert the mask if you want to change your mind about which but you're working on clear the mask you want to start again or if you have made a mask and you're thinking right that's that's lovely but I want to get this thing out of the way you can hide the masked area and it will actually just sort of temporarily cut it out the surface for you so it's no longer in the way anyway let's clear the mask turn the mask off right ok so these bits at the bottom these are the last areas now what we've got down here is baked for your sculpting we've already done the symmetry not sure I'm kind of really going to mention the project mesh projecting the mesh allows you to take another object and project it down onto the other surface it has its uses but I'm gonna skip over that for today just try and get through this a bit bit quicker and under subdivide now let's just quickly cover this last one down there because that's sir that's an interesting tool sometimes your model is already gonna have been made you'll have made it somewhere else or you'll of downloaded it and you just want to do some sculpting on top but unfortunately whoever's made it or whoever's provided it they haven't given it to you in the base polygons they've already subdivide it and flatten down the object so for example maybe we have this lovely object here where I'm just gonna throw some divisions on there some of this some of that's maybe a little indentation and we've subdivide with this subdivision surface let's just look at how objects pop down they're subdivide the surface a couple of times and flatten it all down make editable so maybe you've got this you've loaded it in and it's already sort of smooth and divided this is not the ideal mesh for you to sculpt on what you ideally want to do is do your sculpting on the original blocky base mesh that this all started from and that's pretty much what on subdivide does you take your object and so long as it's got a very nice clean mesh like this if it's covered in all sorts of triangles and faceted bits don't even bother trying this it has to be a nice good quality mesh but basically choose the object and hit on subdivide that's it what it will do is it will leave you with your original copy and it'll create a new object for you which is the unsub divided version now I know what you're thinking you're looking at this and thinking mash you've gone mad it's that's that's the same object what's he on about well it isn't if I choose my new copy of the object which is this one here by the way this blue tag with an S this is your sculpt tag is it I can't tell which one is which if I delete that this is what the object really looks like all cinema's doing is it was turning the scope system on and re dividing it back down to the smooth surface for us so if you do want to just unsub divide it just remove that tag and there you go that's pretty much the original object but it does mean now with this object I can increase and decrease the subdivisions so it's a pretty nice little tool it'll basically sort of reverse engineer what the original object must have looked like for this new smooth version to have been made from it okay let's just put that back and go back to our other scene so that's your unsub divide the last bit then really is baking now baking is a way for you to make all of the sculpting you've done permanent or rather it's a way for you to make all of the scopes and you've done apply to a low-res lucien mesh so right now I have a million polygons in here this is a very very heavy dense object with lots of detail lines and I don't necessarily want an object this heavy in my project so what baking lets us do is apply this to a low resolution version choose your sculpt hit the back button and in this window which appears we have a few choices now what this does is it creates a material with a series of displacement bump maps normal Maps ambient occlusion maps just things which will make it look good so we're going to choose where the files will go and what they've got to be called so I am just going to choose my desktop and I'm gonna say write save this as awesome thing okay format what far from what you want to say these as you know what Tiff's fine unless you've got a really good reason don't change it color depth how much data per layer does it use again 32-bit is good unless you've got a good reason I would really just leave this at 32 don't go any lower than 16-bit otherwise you can have problems and then the resolution okay so because this is making a picture it has to have a resolution and the question is what resolution should you have and there's no hard and fast rule but I do have a good sort of rule of thumb you can follow if you want my object has 1 million polygons a simple rule of thumb you can follow is whatever your polygon count is quadruple it and that's how many pixels would give you a pretty decent result so a thousand by a thousand for example if you whack this into a calculator the answer is a million this is 1 million pixels or a mega pixel if you like this means I would get roughly one pixel of data for each polygon on my object and that's not really quite enough you start to get some jagged edges when you do this essentially I just want the next setting up which would be two thousand by two thousand do the maths that's pretty much four million pixels so I've got a million pix a million polygons quadruple it's go for four million pixels again just another example maybe your mesh is three million polygons quadruple it that's twelve million just choose whichever one of these is closest so four by four would be pretty good anyway so I'm going to go for two thousand pixels because it's it's more it's just a bit more than I need that's we'll find out or about those parts let's jump on over to our next page so options what do we bake well one of the main points of sculpting is that you're going to be pushing and pulling things up and down to displace the surface so you know what we want to bake the displacement that is fundamentally the sculpting another choice you've got these normals the normal is a way for cinema to add lots of little fine detail if you're not sure about normal Maps just think of them as a bump map so this is your big heavy changes for displacement and normal is your small fine little details so again I would normally bake those as well these first two checkboxes are really what sculpting is about you then got a few optional bits one of them is ambient occlusion you can if you want get cinema to put lots of sort of dirt and grit and darkness into all the indentations now this wouldn't be much different from you jumping into your render settings and saying hey I want some I want some ambient occlusion or doing it through a material yourself but this would bake it and make it permanent so it's optional I I will say this will slow down the baking process quite a lot this process already takes a minute or two at the best of times this would sort of double it or triple how long it takes so you know it adds a little while and then you've got optimal mapping now here's the question does your object have good UV data if you have no idea what I'm talking about turn this on your object has to have good texture mapping data because that texture mapping data is what this displacement is going to use so if your object already has good UV data and I will just say if you've used a sphere like I have this has good UVs you can leave this alone but if you've got another model which you've sculpted yourself and you don't know about the UVs or you haven't laid the UVs out turn it on for safety just turn it on cubic or angle there's not a massive amount of dinner between it's just try one bake it and if it doesn't work try the other one there's my lazy answer for you anyway this you can all leave it alone because this is kind of what you want to do by default you want to bake the highest amount of detail level six into the most basic mesh level zero so this is pretty much what you tend to want most of the time you'd only turn on extra settings in here if you're trying to do usually if you're trying to make assets for a game with multiple levels of detail so don't work too much about changing this and as for settings again we can leave this we can leave this and we can leave all of this you don't tend to need much in settings again unless you're taking your files you're making into another bit of software like Zed brush or unity or Unreal some sort of other engine where they might specify they want certain tangent types and certain displacement orders if you've no idea what that is leave it alone if you know that you do need certain RGB orders you can change them in here okay so that's all set up file name format pick a resolution and turn on these first few settings there that's you sort of standard fare and when you're ready hit bake cinema will now go through a process of working out where things are converting your sculpted data into a series of images and when it's done which has actually happened quite quickly here it will find if you look at your list of objects we have two the one with the blue s is your original sculpting so we'll just move that one off to the side so this is our original and this white one is our baked version now you may look at this and think hmm that doesn't look as good as my original and you're right but what we have if we go back to our standard layout so we can sue all of our materials start up okay here's our material and what we have is a series of normal maps with fine detail and displacement maps with big chunky detail but the point is this one here which we sculpted has a million polygons and this new one is created is the very very original object we started from so it's super super low detail but the beauty is that when you hit render on these all of this detail will appear on your other object look at that beautiful so you can have all of this detail but only need a couple of hundred polygons not a million I can now take this object duplicate it many many times and my computer wouldn't really slow down very much at all and there you go that's sculpting and this specifically is the point of your baking so all the detail we see here you don't see it in the editor in real time but when you hit render there yeah there's all your detail okay there we go then I think that's pretty much our sculpting video don't hope this has been useful I hope you now see that sculpting can be used for a lot of different things not just for characters and monsters go model you serve some chocolate bars go model yourself some mountains and some cliffs and I'll see you in the next video this is mushroom 3d fluff until next time you

Channel: 3DFluff

Views: 72,366

Keywords: cinema 4d, c4d, maxon, 3d fluff, gsg, greyscale gorilla, cineversity, digital meat, nose man, mash, tutorial, training, guide, lesson, how to, mograph, matthew oneill, sculpt, zbrush, mudbox, sculpting, modeling

Id: 6XgKsv8ZNM0

Length: 46min 26sec (2786 seconds)

Published: Tue Apr 17 2018

Reddit Comments

[u/3dfluff]

Just uploaded something new for everyone, how to quickly get up and running with C4D's sculpting toolset :) I go through and show you some best working practices, how to use the tools, stamps, stencils, masks and then bake the results down into a low poly mesh. Hope you enjoy.

[u/Lazores]

Skipped through it a bit because i know most of it but i wanted to see your run down of it.

And i got to say this is really well put together! Great job, hope to see more from you.

[u/Skagnor_Bognis]

This was really helpful and well explained, thank you! Channel subscribed.