Tutorial: Motion Tracker in Release in depth | Maxon Cinema 4D

welcome in this tutorial I talked about the new workflows and enhancements in the integrated motion tracker of Macs on cinema 4d release 20 in this great example by the talented artist Jonas pills you can see which incredible VFX shots you can build inside of cinema 4d we will use now the same footage Jonas has used and I will walk you through the process of tracking and the scene reconstruction of this shot after that you can start to place in your own assets and make your own version but let's first talk about unis before you honest joint Maxon in 2015 as a cinema 4d evangelist he worked for years as a 3d generalist for designated industry clients and television you can meet Jonas in person on maximum trade shows and other public events where he shares his enthusiasm about max on cinema 4d before we dive into the tutorial itself I want to make a brief introduction of myself my name is Agha mouse and I'm a maximum certified lead instructor but now since 18 years in the industry as a 3d and VFX trainer for my company pixel train you find more information about me and my trainings on pixel train de so let's get started motion tracking is normally the first step in a VFX production because if you want to integrate CG content and real footage the cinema 4d camera has to match exactly the movement of the real camera on set we can use external special ID software for this or you can use the inbuilt cinema 4d motion tracker the cinema 4d integrated motion tracker has evolved a lot in the last versions and now we have a really powerful integrated solution cinema for these camera trackers able to make automatic or supervised Doyle sometimes named manual tracking you can use it for object tracking point-cloud generation also scene reconstruction the focus on this released the r20 release was a better user experience and a more consistent cinema4d workflow for the tracker but keep in mind this here is not a full introduction to motion tracking Symphony so if you want to learn more about it you will find a whole bunch of good tutorials around the web and also on the pixel train whim your channel let's get started to explore them cool new workflow enhancements with this project by yonas we want to load now the footage and to make it more convenient for you we switch now here into our new motion tracker layout instead of going to the menu now all the time you can use this nice layout here the most important buttons we have here in the bottom part we have here our object manager and we have a new motion tracker view and our attributes manager and now we can start and instead of adding a motion tracker object here loading then the footage and so on we have here now a little assistant we can double click to create a new motion track object we do that double click and then we have here our new motion tracker object and normally I see my trainings attendees that he now search for the right tab and so on and now you see we get a new command here double click to select the footage ok we do that another double click and now I can search for my footage here in my files I take this footage here from yonas and I'm done you see how easy it is now in this new version to double clicks so let's take a look here around and I adjust a little bit of my UI and if you wanted to see now the whole plate we have now our first new feature do you see the yellow border here around our footage this year is the new 2d tracks mode you can switch it on and off with this little button here you see the yellow line appears and dissapears if you are in this mode now here you can navigate now in your plate with your normal cinema 4d navigation so I hold down the option or Alt key on my keyboard and use my three button Mouse but you also can use the one and the two key on your keyboard like you want also if you want to go back to have a footage scale of 100% and you wanted to reset the footage offset you can now use your keyboard shortcut aged like you do in other viewports inside of cinema 4d that's cool you will see that this workflow enhancements are really useful because now you can use your normal keyboard shortcuts also here in the motion tracker the next step we want to do is we have to cache our footage and for this we now dive a little bit into the attributes here of the footage tab displayed here is a full HD plate and you see that here and the dimensions you see it's full HD but this image here looks a little bit blurry and the reason for that is that cinema 4d has to hold the whole footage in memory while tracking and depending on your plate size for example if you have 4k plates or bigger this will be a problem and so cinema 4d is clever enough to resample the footage and you can insert here under resampling how you want to resemble it now we see only 30% of the footage and you see here the size it's really low and that's the reason why it looks a blurry so if you have a good beefy machine and you want to have more details for the tracker you can increase the resampling here I go here to 75% for example and you see instantly here the image is much much better as seen more details but you also see that here the complete memory consumption if I cache everything is much bigger buts ok for my machine to get now rid of stuff you don't need you can scrub now around here and take a look through the footage and I don't want to see for example here the area bigger than 240 for example and instead of going out into an external application you can use your frame start and frame stop and I change here the value like this and I also change him a timeline so that it loops always in this area here if you now want to cache this and this is a tip from my trainings because I want to work later fast and if you know want for example to start directly the 2d tracking with a manual process cinema has to cache and track at the same time it takes more time and so I normally after I've changed here the values I go in here and press the play button here and then you see cinema now starts caching these frames so I can now see the footage I can think about the footage what are good points to track in which region I have to be careful because I have moving elements I have faraway elements where I have patterns which can cause trackers to jump and so on so this is also beside the cashing my analyze pass and now I understand my footage I see we have a full perspective and we can track it really easily later now let's stop that here and we play back and the normal process of a 3d tracker is that we start in the 2d world because the only thing the tracking algorithm does is it analyzes perspective so we need to parallax them for parallax we need a 2d track before that and for this we have the 2d tracking area and if you switch now here you have some options you can go the full automatic way or you can go the manual tracking way I will show you both in this tutorial but first let's talk about these trackers we use a whole bunch of trackers if you ever done a 2d track in After Effects you maybe use for for a corner pin here this tracker because it has to understand the full perspective and the parallax we use 300 track us here and it's a really nice thing that cinema's tracker is doing the job for me to see where the trackers are normally placed you can use this create auto tracks I normally name this a half automatic way you will see that in a moment so if you click now here you get around 300 trackers and to see this a little bit better I tend here to go to the footage and under the visibility settings I lower the brightness so that you can see where are the trackers placed and if you ever learned what a 3d tracker does you know where good tracks where bad tracks and if you want you can now analyze that you can start changing trackers here you can delete them and this is the thing which is enhanced now in this version of cinema 4d you can now use all your selection tools directly here from the menu so you can select for example here les su selection and if you now go around trekkers and you want to delete them select them and press the Delete key on your keyboard also you can use here the rectangle selection now and your life selection and so on so it's really like cinema 4d if you hold on your middle mouse button you can change here the radius and you can draw over these trackers and also delete them if you like then I normally go back here to the move tool and you will see it in a moment Y so this is the first step you can first create some Auto trackers and then you can play with them but I said it's a half automatic tracker what you normally do if you have generated your trackers and you have decided what you want to do you can track them now forward backward or bi-directional but if you have started with your own trackers here cinema 4d doesn't had lost tracks you see this is grayed out the reason for this is in this half automatic approach we normally search for the best frames in a whole shot you make your tracks you sort them you track them by directional for example and then you close only the gaps more and more but that's not the topic of this tutorial what I want to demonstrate you are the options which you find here so I delete the auto tracks again and if we now go again here to create outer tracks you see that the distribution of this tracks is really uniform over the whole plate if you think about where you normally want to place tracks some people say I'm where the contrast is highest but sometimes this area is really small so maybe all the high contrast tracks would be here and if now cinema are the only places tracker where the high contrast is you don't get a good self because you need the whole plate in mind for getting a solve so you search for high contrast but also you want to spray your tracks out and for this we have this minimum spacing here of 19 if I delete all the tracks and I remove this value I set this to zero and say create auto tracks you will see you get these clumps of trackers which is not really good so normally you search for good tracking points and also you spread them over the plate this value of 19 is really good with HD plates you will see this HD plate here gets a really nice distribution if you have a bigger plate you can also increase this value and you can check this with this process here which I've shown you how to place them also 300 trackers takes a long time to track I tend in easy shots like this here to use lower numbers of tracks maybe we can try 150 early this will look like that and maybe this is enough I need some more on this face and for this we can look into another feature wrist is also now enhanced inside of cinema 4d r20 and this is the mask workflow if you want to tell the system where it should place trackers and red doesn't have to place trackers you can use masks and for drawing masks you can now use this button here before it was here in the menu great mask and now you can click your mask for example I want to tell the system that I want only have trackers here on this statue if you now click here around you see it's really easy now to click you also can place it outside but the point is then directly projected you see it like that and we take this area and then we close it you see it's really like in a drawing program and after that we get this mask constrained and if you now want to change the points in the mask normally you have to animate them then you see how cool these new enhancements inside of cinema 4d are 20 are so you can now use like before you move to and move the points around this is really easy but you also can use if you are inside of the mask control ie for selecting all of the points now and then you can use your normal move tool to move the whole mask now around you don't need to move the points point by point anymore you also can now scale a mask and you can rotate a mask you see really like in other tools of cinema free the mask workflow normally is animated so you first start with a simple mask sometimes you stack masks on each other so it's much easier later if you wrote to it like that and then you move now your time slider a little bit and because all of my points are now selected I can move now the mask and you see it's animated now this takes a while and yeah that's the normal job of a match moving artist and I said that you normally have more than one mask it's easy doable you can have here another mask for example you tell the system okay it's much easier to have this part here as a separate mask so I do that for you only to demonstrate this has no really sense in the moment here and now I have two masks which are animated now you want to use this mask for adding features and if you now select the mask here you see you have here an active from and - so you can tell okay the masks vanish at some point because the object is gone which you want to mask out or whatever and you also can tell now if you want to have features inside of the mask excluded or included in my case I have masked the area which I want so I go here now and say I want to include these here for this mask here I tell the system we are 23 so for a short moment and go here to 50 so the mask is gone for a moment and then we can now go here and see create auto tracks now you see you only get features inside of this box you see with this new enhancement in cinema 4d r20 working this mask is now much much easier because you can use your command a you can use your normal transformation tools inside of cinema 4d and like I've said you can stack them so let's take this year again and I reset here the value back to zero and here is in the moment the mode exclude from ask that means if I delete now all the tracks and make them again you see the tracks are only here but not there because this year stacks on top of the other masks and so here and no trackers or you can tell the mask okay I want to include here we can delete now all the tracks and you see now they are also in this area we can now get rid of these masks here and we want to see first the whole process in this area I delete all the outer tracks 150 is okay and let's make really fast Auto tricky okay the tracking is done and you see here these the lines which are indicators in which direction this point moves now and like I've said if you haven't masked things out which you don't want you can now start to delete but how to decide if a tracker is good or bad there are rules like moving objects are not allowed four-way objects are bad in parents you normally get jumps and so on but to check this we have a wonderful new feature inside of the are 20 motion tracker and this is this motion tracker window here so let's take someone which i think is not the best one here i want for example to understand what this track a year sees you can zoom in and try read to understand what this tracker does but in the moment I scrub back you see wow the tracker is gone because this plate here is not depending on the track position that's a pity so go back search the tracker again there it is and this time I selected and now you see in this new tracker window here this tracker is now the center of my window and if I now scrub around and I lose my track here because this is in the moment deactivated it's rat rat means the track is not active in the moment but if I now come closely to this area and at some point suddenly it activates itself now I here it is I see here the whole plate so the context and here I see the tracker always in the center and the rule is your eyes as a match moving artists have to stay here on the track so that you see if you see sliding or jumping or whatever this helps me a lot now to really check what's going on and like I said if you want to get rid of something which you don't like for example these perspective crossing lines are not good you can select it and delete it again so much much easier with this window here let's try something else you will come back in this window again if you have now your trekkers and you have thrown away enough stuff sometimes you want to have something automatically thrown out and for this we have here inside of the motion tracker this filter track area and this is a really cool one there are some rules which you can activate and deactivate one rule for example is you can have a minimum length in the lifetime of a track if a tracker only lives some frames to 3 frames it normally is dust or reflection or something which is not really useful for the solve and this is the minimum lifetime of a tracker and the cool thing is if you now look here we have a whole bunch of trackers if we increase now this value here for example to 30 frames and you release your mouse some of the trackers are now gone so these trackers live shorter than 30 frames and so they are sorted out but don't be afraid if you change your mind you can lower the value again and they are back so they are not deleted so if you delete them they are gone but here this helps you to really try values and you have to make sure that you don't have too low tracker amounts through the whole time so play with caution then we have here an acceleration and acceleration means suddenly a track gets extremely fast normally this happens if you track for example reflection reflections are site dependent and suddenly they fly away and so you can tell the system if you have a maximum acceleration of one no tracker is allowed to be faster than one but what if you really have a fast camera move going on then the trackers are really faster than one and instead of using that I tend most of the time to use a smart acceleration that means if suddenly a tracker decides to be really fast cinema first looks in the neighbor trackers and if they all do the same then maybe the camera is really doing it if only one in a neighborhood is doing this then it's deleted so much more clever and the last one is an era threshold if you have done made a decent selection of your tracks like I've said this is only demonstration I normally would get rid of all these trackers here then you go to the 3d solve and here you have decide the soft mode if you have a full parallax and a full perspective scene you can use the 3d reconstruction if you have limited things like for example a camera on a tripod you can use a nodal pan is this a special kind of solve and you also have a planar track where you have to give camera data first to the system but in our case this is full perspective so we can use 3d reconstruction if you have really information about the camera you can give the system here this information but this is also topic for more advanced tutorials so if you run a server now it takes a while you also can look here into the status bar and zip at your cafe after it has solved you will see a point cloud of these features and also you will get hopefully a soft camera now we are here we can now go out of the motion tracker you can select for example the camera and leave it here then you see here in the viewport your features and the moving camera and then normally comes to check if this u makes sense sometimes you get salts which look nice but they are absolutely nonsense yeah for example you have tracker behind the camera and so on but this looks good you see also in this color code which tracking points are reliable and which tracking points are not reliable from the perspective of the symmetry solver to see the face is good but the foliage behind it yeah it's really unsure that this here makes sense and you see that here the solution really is floating in space the reason for this is that the 3d tracker can't decide really sizes and can't decide in which direction something is it's only about proportion to each other and then we normally go in and make a coordinate system to do that you see at the moment the camera somewhere at the zero point is here at the start point of the camera and to do that now I go back here into myself and to make it more clear for you I show some of these windows so that you can see what's going on here's the origin point of my scene I can now use this new buttons here which are now in my interface and we have three kind of constraint we can use a position a vector and a planar constraint the position constraint is forgiving a position to a tracker which means we can give here an origin point for the solve so I create a position constraint and now I click on the tracker for example here the tip of the nose and at the moment I do that you see that the whole solution here suddenly moves so that the tip of the nose is now in the zero point of my word which helps later my 3d process the next constraint I for example can give the system is a planar constraint which I normally use for floors of walls or whatever I am going to use so you can tell the system which XE is perpendicular to this so we can try this I take a planar constraint that and then we can start clicking here points and we get a plane this here is not a complete plane but I think for demonstration purposes it's enough I want to at this point this point this point here and now you see the whole solution is now rotated so that this year is now a floor plane which doesn't make sense for my face but I can go now onto this constraint which is generated and change the AXI in which this plane looks to for example Z and then you see now we look exactly on this face and the tip of the nose is the zero point and if you then want to change in XE we normally use the vector constraint you see that this new interface here helps me a lot if I want now to work fast for my first self I want to make now a short break here so I delete the whole solution because now I want to show you new features in the manual tracking process and then we come back into this scene again let's go into a new scene slowed our footage with a double click process again okay there we are then we go here to the resembling reset this 240 that's it and then we press play to load the footage again okay and now I can short me in my timeline normally it's better to do it directly but that's okay I want to demonstrate you now the complete manual process and I call it normally supervised tracking but some people say it's manual tracking it's the same and here you see we have now a wonderful new user trackers window and you will see that this year is really cool if you have complex shots what does a manual tracker do you normally set tracking marks like you do for example in 2d program like After Effects for doing that we can see the Move tool I want to use the motion tracker all the time so I take this little lock here and if you now want to set for example a tracking mark I can now with this new 2d tracts mode here into my plate really convenient and I want to have this red dot I hold up my command or Apple key on the keyboard to place this tracking mark here and for your convenience I lower the brightness a little bit it doesn't affect my tracking result but it helps you to see better what I'm doing you see we have two areas we have this little area here which is the pattern area that's the pattern which the tracker will search and it's searched in the next or the previous frame in this area and both you can change here to your liking and I want to search now for example this area and then you see that our new motion track of view is really really helpful so also if I'm out here you still see a really decent image what the tracker sees and if we now go back here to the 2d tracking you see you have now user track number one and this new list here is really awesome you can select your tracker you can rename it for example to nose we see this size here and the search area we can change this by values if you like we have here filter we talked about this in a moment we can lock a tracker which you are happy and you can change it to a Sackler and this is useful if you have for example dots in a green screen studio or so and you really want to track something circular this is done here if you now want to track we have three buttons here you select your track and you can track bi-directional forward or backward and now you can change this all the time you will see that in a moment I decide now I'm in the middle of my timeline that I want to drag forward and backward at the same time so we click manual track forward backward it takes no wild that's really fast and then cinema4d has finished it and one feature I like a lot and cinema for E is that it refines the tracker all the time if I change something you want to see this for this we need to graph you you can open your graph view here through the menu and normally I now search for it here but we have now new button and here is the graph view to make it easier for you you don't see my sect moneyto I can drag it into my user interface and if you press the H key you see this is the selector track and here you see keyframes and a new feature is now that you really can see what's going on you see if i zoom in a lot you see I started with this key here it's yellow because there's a keyframe because I set the system that this pattern is the pattern I'm after so I set the keyframe you also see it here and I said search it in both directions and now you'll see with these little arrows exactly what the tracker has done and you see it tracks in this direction in this direction while it's trekking normally the pattern shapes to lighting condition all through the angle which the camera has now on this spot here and so normally a trekker loses its contact and then you have to refine it again but like I've said a really nice feature inside of cinema 4d is the following thing you see I now scrub here into the red area because now he is not so sure anymore that this pattern is really the pattern I've decided through the motion blur yeah it's really unsure but now I want to help the system I say okay I can give you more information and I tell you again where it is and now I can do one of two things I can do it in this video I can move here or I can nudge it by keyboard shortcuts so if you have selected this you can hold down your command or control key and then you can use your arrow keys to move this point around really really easy or you can move it also here if you like both ways are working and with this here now I refined the path and the pattern because at the moment he now sees the new pattern which I am after cinema 4d directly starts to go because it's a bi-directional in both directions and refine the result so I don't have to delete key frames or delete frames go back forward and I have to delete again I only need to refine if you don't like this you can deactivate this button though the auto-update tracks it sometimes yeah a performance thing but in most of my plates I leave it on because it's such a cool feature let's do it again I go it for example to this year and he's not so sure anymore but I touch this year and refine it I want to have this sport in the moment or release you see he retracts with the new information to this point at this point and so he's happy and you see how cool this way of working is and while I'm scrubbing I can take a look into this window and it's really fast now to work in this new version through this window and here as he it's a little bit off I don't like this so we can change you this a little bit to the inside change the pattern and he's refining the path again if you are happy with this you can lock it here so that nothing happens anymore so you don't select it by accident and then you take the next tracker here I take for example now this dot and we can make it bigger sometimes light conditions are not so the best it changed a lot all you have the problem suddenly that you have something which is not contrasty enough a trek anomaly only sees luminance and for that we have the color filter in reality this trekker only sees a black and white image and to make this visible for you you can check this little tick mark in front of track of you if you take this you see in this new tracker window exactly what the tracker sees but you still see the original plate here really useful and now you can start to prepare your plate better if you say the contrast is high enough but I don't want to go out now I can open this color filter here and I can mix my channels red green and blue so that I see here a more contrast image and now through this track of you I really can see what the track has sees and this is a big helper for me and this year is now doable for every tracker so the first nose tracker was if ID lock it illuminance tracker with this mixing here and if I now go to the user tracker to which we haven't track yet it's this setting here so you can now have for every track I use settings so that you get the best result light also we have some presets here for example if you have a red dot and you want to enhance the red you can directly select this and you can see the red is mixed in with from 100% here the colors are removed or you can overdo this with enhanced red and then you see you also can go here to the negative and make the red more popping so really useful these color filters now with the control in this window here but there's another feature I want to talk to you briefly about and this is the virtual key frame I hope I have a good point here from a demonstration let me track this really fast forward and backward and what normally happens through the changing angle of the camera to a parent is that the parent change the only information the tracker has about the pattern is in the keyframes in the moment only this keyframe here stores the pattern and if we now move a lot you suddenly see that here the tracker drums away because this point here looks for the tracker more like my original state here that's not the thing I'm after and so I have to look out for these jumps that have to correct them but if you want to have it a little bit easier for you you can now use a new feature inside of cinema 4d at 20 which is named a virtual keyframe if we open this up now you see if you tick this you have three options you can work the first option is a frame interval so you tell the system that every 10 frames this system looks again at the pattern at this point of time and stores it again and you see this in these science events so at this point here 10 frames away is that ok I have to look onto the pattern which I have and stored this year as the new pattern and so on and suddenly see it release states here because every 10 frame it looks again and who don't have to correct this anymore there are some more intelligent users than the frame interval sometimes this is good and I for example like the error threshold pre-emptive it means in every frame here cinema4d decides how good the pattern is comparing to the original keyframe and he says um now I'm only for example 90% sure now I'm only 85% sure and the more it goes away from this keyframe the arrow goes up and what you do with this kind of work here you tell the system if your error gets higher than this threshold make a keyframe before that and we can tell for example 10% and if you now bring this down you see ok in this area here suddenly he saw how the arrow goes up over our threshold and then he decided ok I have to make a new keyframe here to store this new value you see with these little keyframes you are extremely fast in many manual tracking jobs and it's a really big time-saver so that's about these virtual keyframes at the color filters let me close this list view here if you have a whole bunch of trackers also if you want to have later a reconstruction where you really can see ok these are trackers on the statue these are trackers on the tree left and these are trackers on the tree right you can use here your right mouse button a lot so you can have folders here if you like and you name this for example left part or whatever you want to name this then you can now track you track us into that like you've seen we can lock them and now this panel here is a really an organizing tool for me and that's the great thing about that these are some of the new features here to close this scene now I want also to show you really briefly the graph mode if you like this representation which I do a lot because of the colors the directions and the kind of frames here you will also like this if I for example now use my user track here I select only this then you see this is the arrow of value which this user track produces and you can press the H key here you see also a small representation of my keys from this list here so we have now the best of both worlds and you see here's the area really low because I said that's the pattern and then you see the arrow goes up and down but in most cases up and at this point my arrow was high enough you see 0.08 and I said I have an error threshold of 0.1 and that's the reason why he made here a new virtual keyframe and then there were drops down and goes up again so really nice analyzing tool that's it for this scene so we now go back into our original motion tracking scene and now you also see here these are my tracks which we have done before we can close this for a moment down we have our helper here and what Jonas has done with his original scene he reconstructed from his result which he had produced here so that he can use the dynamic system of cinema 4d to get a collision object and also use this scene reconstruction and this is something I want to show you at the end of this tutorial I go back here now to the motion tracker I have now here my constraints going on so let's make a really brief look into my scene and you see it looks like that there's the face and this is the camera path we say ok that's good enough for this demonstration and you will see that these tracking marks are not enough for example for making a proxy mash for dynamics or so and inside of the cinema 4d motion tracker we can now use the reconstruction and this reconstruction is a really cool process for generating point clouds we have some presets here it uses a process which is really close to photogrammetry we have more than one camera because our camera moves and he tries to find first more than one side of the same point and then he generates a patch and grows the patch and generates points in this area if you want to know more read a little bit about this and they have full of cinema free and with this we can get a dense point cloud I will do this normally I first generate a point cloud and if I'm happy with the settings of the point cloud and then generate a match and it takes a long time so we will have a little bit of time lapse now in the video and so I'm really going here for the high quality I press generate point cloud and we see in a moment again okay it's finished you see it took a while about three or four minutes but now you see that in my viewport now we see this big dense point cloud now offer a scene and you see how dense this point out can be and which great helper this is the way cinema for these doors this point cloud is here imagine inside of the mash we have now points placed so these are normal points you can go into points mode and if you like you can select them inside of the viewport and delete them if you like or use them for for example point snapping or whatever you want to do with them and the colors here are projected from the original footage and these colors are stored in this tag here this is a vertex color tag and this vertex color tag is storing the colors for every point and you see here that the points are drawn always so that we can see the whole thing this here is a really good helper now for 3d work because you really see where from the perspective is something really placed so if we need to place a car or dinosaur between trees you really can see where the trees are but if you want to use dynamics which yonas has done in his scene you can go even a step further you can generate a mesh out of this and this year is named then generate mash also if you play with these presets for the points and so on these objects here stays so you have sometimes a lower mid or high quality point load and also you can delete them if you want to try again let's finish that with the generating mash so now these points here are connected with the mash so that you get here a surface which you then can use as collision objects normally we hide them but it's really nice as collision objects for dynamics or shadow catcher and so on and one thing which is important to mention is that even if you resemble you the footage for example to 75 or 50 percent cinema 4d and this process is clever enough to always use the full resolution of your footage that's really really cool but now we construct the mash here so I click here again and it will take a while again and we will see each other when the mash is finished and here we are the mash is also generated and it looks a little bit scary in this here that's because we don't have enough information about this here but I want to deactivate first my point cloud so that you really can see what's going on and you see that the mesh is really really detailed in the areas where we had information so this is a simple mash you can go again into polygons mode throw away everything you don't like but the cool thing now is that we have here now a really good representation of the surface and you also can see the colors if you like you also have here this color information as a vertex color Tech and you see if you activate this this here looks really really good and you can use this also in a shader like I've said normally we don't want to see this directly in the viewport we use it as and hidden object we clean it up so that we really get the connection points where we need them but this is a really incredible workflow inside of the cinema 4d motion tracker that finished smite tutorial about the new features inside of the motion tracker and also a little bit about the new enhanced workflows I hope you liked it my name is Helga moss from pixel train have fun

Channel: Maxon

Views: 63,957

Keywords: c4d, cinema 4d, r20, release 20, sculpting, bodypaint 3d, maxon, modeling, modelling, 3d, animation, rendering, motion tracker

Id: kKX-vG93O8U

Length: 45min 48sec (2748 seconds)

Published: Mon Oct 01 2018