| 1 |
* Making Difficult Objects (Perhaps in Architecture) |
| 2 |
^ Making for getting Camera Distortions (for approximate Loop/Path Cut in different parts of an object) |
| 3 |
a) If we have sizes of reference, we create a usual 'Cube' with fitting sizes, likely in Front view (F4) |
| 4 |
- After that, we create a Camera in Perspective with the same sizes as in an image of BG |
| 5 |
`Sizes of the Camera we do in Render Settings (Ctrl + B) |
| 6 |
`For learning size of an image: RBM on the image > properties > in detail > dimension |
| 7 |
- A Created 'Cube' we switch visibility in X-Ray for matching the Cube to the image of BG |
| 8 |
b) in Perspective we create Floor > Background |
| 9 |
- Create material where the necessary image load in canal Color |
| 10 |
- After that, we use material on Background |
| 11 |
- Size of Background is the same as in Render Settings (Ctrl + B) |
| 12 |
c) Create Camera and use on it tag "Rigging Tags" > "Protection" |
| 13 |
d) Convert the Cube and make Loop/Path Cut (K~L) in some parts of the object |
| 14 |
e) If we need more objects, make copies of the optimized cube |
| 15 |
а) When we want to watch from other foreshortening, we just switch off the camera |
| 16 |
^ |
| 17 |
a) We can take other samples, for instance, chair legs with Lathe |
| 18 |
* |
| 19 |
^ In Lathe, when we want change common diameter, we switch Enable Axis (L) and moving |
| 20 |
^ Loft |
| 21 |
a) Mesh Subdivision U -- this gives the number of subdivisions in the U direction, i.e., along the circumference of the cross-section |
| 22 |
b) Mesh Subdivision V -- defines the number of subdivisions in the V direction, i.e., along the length of the loft |
| 23 |
c) Isoparm subdivision U -- defines the number of isoparm used to display the loft object when the isoparm display mode is active |
| 24 |
^ Making a groove on architectural objects |
| 25 |
a) For example, we made a chair leg via Lathe |
| 26 |
b) We choose on Spline > Object: for making a simpler grid |
| 27 |
- Intermediate points (default Adaptive is good) |
| 28 |
- If we increase Angle, there's a simpler grid |
| 29 |
- After we've done, convert it |
| 30 |
c) If we need to make several grooves around the leg, we select the opposite short planes |
| 31 |
- Inner (I), then shift them |
| 32 |
`Positive numbers shift inside, or else outside |
| 33 |
- Scaling them via one axis plane, perhaps XZ |
| 34 |
d) Putting the object into Subdivision |
| 35 |
e) If the top and the bottom is too stretched, make Loop/Path Cut (K~L) in Edge next to them |
| 36 |
^ In F2, F3, F4 sometimes better to go from Display > Lines (N~G) into Display > Hidden Line (N~F) |
| 37 |
a) The less lines the better visibility |
| 38 |
^ Right using references in different Views |
| 39 |
a) Size X, Size Y must be the same |
| 40 |
b) References must be inside the Cube |
| 41 |
^ Generator Subdivision works with one object, so use grouping |
| 42 |
a) Try to use Subdivision in the top hierarchy, i.e. once. |
| 43 |
^ Window > Timeline (Dope Sheet) (Shift + F3) |
| 44 |
^ Window > Timeline (F-Curve) (Shift + Alt +F3) |
| 45 |
a) Show Position F-Curve (Shift + Alt + E) |
| 46 |
b) Show Rotation F-Curve (Shift + Alt + R) |
| 47 |
c) Show Scale F-Curve (Shift + Alt + T) |
| 48 |
^ Preferences (Ctrl + E) > Units > Animation Unit (default Frames) |
| 49 |
a) We can change into Seconds or SMPTE |
| 50 |
b) SMPTE like in After Effects |
| 51 |
^ Viewport > Cameras |
| 52 |
a) Default Camera |
| 53 |
^ Camera |
| 54 |
a) Object > Projection (Default Perspective) |
| 55 |
- Parallel: useful for isometric projections |
| 56 |
`Zoom: very useful, allows to zoom in or out scene without Position |
| 57 |
^ Change time of a day |
| 58 |
a) Physical Sky > Time and Location > Time |
| 59 |
- Just animate Time where it will be changing directions of shades |
| 60 |
^ Viewport > Display > Isoparms (N~I) |
| 61 |
a) Default Wireframes (N~H) |
| 62 |
^ When we make animation of an object via tag 'Align to Spline' and primitive 'Circle' we can change direction |
| 63 |
a) Just tick in Circle 'Reverse' |
| 64 |
b) In Helix is Reverse as well |
| 65 |
* Baking Animation |
| 66 |
^ |
| 67 |
a) After making and combining animation clips, we need to bake them |
| 68 |
b) On the '0' frame make a key frame |
| 69 |
- It needs for imaging the object in the Timeline (F-Curves) |
| 70 |
c) On the Timeline (F-Curves) we go to Functions > Bake Objects |
| 71 |
- Just untick 'Create copy', other leave the same |
| 72 |
`Sometimes we need to create a copy of the object |
| 73 |
- After clicking 'Ok' we'll see key frames |
| 74 |
d) We have to simplify key frames, make them less (like in Adobe Illustrator) |
| 75 |
e) Select all key frames (Ctrl + A) |
| 76 |
- Functions > Delete unused tracks |
| 77 |
f) F-Curves > untick Show all tracks |
| 78 |
g) After that, we can work with every trak separately |
| 79 |
^ Baking Animation (part 2) |
| 80 |
a) F-Curve > Create Snapshot 1 |
| 81 |
b) F-Curve > View Snapshot 1 |
| 82 |
c) Functions > Key Reducer |
| 83 |
- Use 'Reduction Infection' just moving percent of influence |
| 84 |
- Perhaps, it's useful 'Reduction Fourier' |
| 85 |
d) Make left key frames according to Snapshot 1 |
| 86 |
- We can remove unnecessary key frame |
| 87 |
- We can add key frames, just using F9 (but don't forget the key frame will be created in every track) |
| 88 |
e) Do it with every track where unnecessary frames and unchanged tracks we remove |
| 89 |
^ If we want to curve a part of another object, try to use deform |
| 90 |
^ Primitives -- it's simple 3d objects (doubt) |
| 91 |
a) Primitives consists of segments |
| 92 |
^ Sometimes, it's better to make color via simple source of light instead of material |
| 93 |
a) Two basic properties: Shadow and Light |
| 94 |
b) If it's a city with one source of light (the sun), we choose a Raytraced (hard) type of shadow |
| 95 |
c) If several sources of light, we choose 'Shadow maps' (soft) or 'Area' (more quality and more resources) |
| 96 |
^ Don't forget about limitless 'Floor' and limitless 'Sky' |
| 97 |
a) On both 'Floor' and 'Sky' we can put a material |
| 98 |
* |
| 99 |
^ Deformer > Camera -- allows deform kinda the view of objects, but we deform only camera |
| 100 |
a) Camera (need to be chosen a necessary object) |
| 101 |
b) Strength |
| 102 |
c) Grid X |
| 103 |
d) Grid Y |
| 104 |
e) Save Frame (Default tick) |
| 105 |
f) Draw Grid (default Active) |
| 106 |
- Always |
| 107 |
- Hierarchy |
| 108 |
g) We can deform everything via Magnet (M ~ I) |
| 109 |
h) It's a pretty cool deformer because it can be returned to a norman condition just moving it |
| 110 |
^ Deformer > Camera (part 2) |
| 111 |
a) First, we have to create a usual Camera |
| 112 |
b) Then, we can create a Camera Deformer (The main camera should be selected), that must be in an object |
| 113 |
c) We can even changing position of the main camera, so we'll notice changes on objects |
| 114 |
^ Magnet (M ~ I) |
| 115 |
* |
| 116 |
^ A wheel we make via Disc |
| 117 |
^ Mode 'Polygons' (My Created hotkey: Ctrl + P) |
| 118 |
^ Mode 'Edges' (My Created hotkey: Ctrl + Alt + E) |
| 119 |
^ Mode 'Points' (My Created hotkey: Ctrl + Alt + P) |
| 120 |
^ Mode 'Model' (My Created hotkey: Ctrl + M) |
| 121 |
^ Polygon Pen (M ~ E) welds points on spot |
| 122 |
^ Set Point Value (M ~ U) |
| 123 |
a) A necessary axis is from 'Leave' to 'Set' |
| 124 |
b) Coordinate system is from 'Object' to 'World' |
| 125 |
c) Apply |
| 126 |
d) We can make it with simple coordinates |
| 127 |
- But Set Point Value (M ~ U) is much better, when we want to return to zero several points |
| 128 |
^ Polygon Pen (M ~ E) |
| 129 |
a) Always better tick 'Auto Weld' |
| 130 |
^ Split (U ~ P) -- allows to split details, but remember about the next removing |
| 131 |
^ Sometimes Cloner 'Radial' is better radius on '0' |
| 132 |
^ If we a Symmetry generator make editable, we get a symmetry welded object |
| 133 |
^ Close Polygon Hole (M ~ D) |
| 134 |
^ Weld (M ~ Q) -- allows to weld points |
| 135 |
a) Usually holding Shift |
| 136 |
b) or select necessary points then Weld (M ~ Q) |
| 137 |
^ Sometimes, it's better to make a neutral colour for Cloner |
| 138 |
^ If we want to find a necessary object in tab 'Objects' |
| 139 |
a) Select the necessary one |
| 140 |
b) Objects > View > Scroll to the first Active |
| 141 |
^ Making the same level |
| 142 |
a) Hold down Ctrl + an object |
| 143 |
- Remember holding down Shift is a lower level |
| 144 |
- Holding down Alt is a higher level |
| 145 |
^ Traffic lights |
| 146 |
a) Hold down Ctrl + click on one of two traffic lights will do the same with children |
| 147 |
b) We can also paint down to other objects when holding down Ctrl |
| 148 |
^ Moving without child |
| 149 |
a) Hold down '7' and PSR a parent object |
| 150 |
^ Moving along one axis |
| 151 |
a) Default method (keeping for axis) |
| 152 |
b) Holding down shift |
| 153 |
- Sometimes helpful |
| 154 |
^ Slide Tool (M ~ O) -- works in the Point and Edge Mode |
| 155 |
a) In Point mode we can move a point along an edge |
| 156 |
- We can also weld the point to another one, just moving on that one or just holding down Ctrl + showing direction |
| 157 |
b) Better in an Edge Mode where we can move along an edge path |
| 158 |
- If we tick 'Preserve Curvature', it allows us shifting a line along curvature path |
| 159 |
- Holding down Ctrl we can duplicate an edge |
| 160 |
^ Lasso (8) |
| 161 |
^ Render Settings > Presets (default 1280x720) |
| 162 |
a) Screen |
| 163 |
b) Film/Video |
| 164 |
c) Mobile Devices |
| 165 |
d) Print (Portrait) |
| 166 |
e) Print (Landscape) |
| 167 |
^ Render > Interactive Render Region (Alt + R) |
| 168 |
^ Settings of Material where RBM on an Icon of one |
| 169 |
a) Views of Size |
| 170 |
- Default (the same as Large) |
| 171 |
- Small |
| 172 |
- Medium |
| 173 |
- Large (the same as Default) |
| 174 |
- Huge |
| 175 |
b) Views of Geometric Shapes |
| 176 |
- Default (the same as Sphere) |
| 177 |
- Flat (2D) (non-activated): didn't understand |
| 178 |
- Sphere (the same as default) |
| 179 |
- Cube |
| 180 |
- Rounded Cube |
| 181 |
- Plane |
| 182 |
- Plane Backlight |
| 183 |
- Cylinder |
| 184 |
- Torus |
| 185 |
- Double Torus |
| 186 |
- Knot |
| 187 |
- Multiple Objects |
| 188 |
- Candle |
| 189 |
- Cloth |
| 190 |
- Gem |
| 191 |
- Object (Anim) |
| 192 |
- Object |
| 193 |
c) Anim -- I think it allows to make animation |
| 194 |
d) Open Window -- understandable |
| 195 |
e) Reset Rotation -- didn't understand |
| 196 |
f) Project Settings -- allows to change default scale, color and so on |
| 197 |
* Santus |
| 198 |
^ For making 3d-personage |
| 199 |
a) We have to have reference with 2 perpendicular projections |
| 200 |
- A Front view |
| 201 |
- A Profile view |
| 202 |
- The third back view can be additional |
| 203 |
b) Searching references in the Internet |
| 204 |
- Just in browser type "model sheets" in the tab images |
| 205 |
- Better choose a filter in size "Big" |
| 206 |
c) We have to check references in Photoshop where all views must be on the same level |
| 207 |
- Guides help here |
| 208 |
d) We can also make references ourselves in Photoshop |
| 209 |
^ Checking References in Photoshop |
| 210 |
a) Take a guide of eyebrows |
| 211 |
b) Eyes (perhaps + nose) |
| 212 |
c) Mouth |
| 213 |
d) Chin |
| 214 |
e) Shoulders (perhaps + female breasts) |
| 215 |
f) Belt |
| 216 |
g) knees |
| 217 |
h) Sometimes as more as you can |
| 218 |
^ Loading References into C4d |
| 219 |
a) in C4d Mode > View Settings (Shift + V) |
| 220 |
b) in Front view F4 we try to put a reference via image of that front view |
| 221 |
c) in Right view F3 put the reference of that right view |
| 222 |
d) Try to put references in the centre via axis X |
| 223 |
e) Author does so that the lower part was on the floor via Y |
| 224 |
^ Settings of Interface for 3d Personage |
| 225 |
a) Better go into layout Model |
| 226 |
- into model we insert some tools from layout Sculpting |
| 227 |
b) from layout Sculpting we type names of tools in a notebook |
| 228 |
c) Go into to layout Model, then on the low part (where tools) RBM > Customize Palettes |
| 229 |
- Here we choose necessary tools from Sculpting |
| 230 |
^ Necessary tools into Model from Sculpting |
| 231 |
a) Pull (just shift into the low row of tools) |
| 232 |
b) grab |
| 233 |
c) smooth |
| 234 |
d) wax |
| 235 |
e) knife |
| 236 |
f) pinch |
| 237 |
^ Necessary tools into Model from Sculpting (part 2) |
| 238 |
a) flatten |
| 239 |
b) inflate |
| 240 |
c) amplify |
| 241 |
d) fill |
| 242 |
e) repeat |
| 243 |
f) scrape |
| 244 |
g) erase |
| 245 |
^ Necessary tools into Model from Sculpting (part 3) |
| 246 |
a) Don't forget to save palettes for loading in future |
| 247 |
b) Removing Palettes and change there queue |
| 248 |
- RBM on the low panel of tools > customize palettes (we have to see a selected sector |
| 249 |
- for removing just twice click LBM |
| 250 |
- for changing position one of these tools, just holding LBM and shift it |
| 251 |
^ Saving set layout |
| 252 |
a) Window > Customization > Save layout as.. |
| 253 |
- Give a remembered name |
| 254 |
b) After that, we can see a new our layout in Layout |
| 255 |
** |
| 256 |
* Creating a Personage (Fox) |
| 257 |
^ Sphere with 48 segments |
| 258 |
a) Type change into Hexahedron |
| 259 |
- Here we can see quadrangles which help us make right polygons |
| 260 |
b) Sphere will be a sample for future head |
| 261 |
- So like attaching the sphere to the head |
| 262 |
- Convert for deeper work |
| 263 |
c) Use tools from sculpting |
| 264 |
^ Tool 'Grab' helps to shift parts of an object |
| 265 |
a) Grab > Symmetry |
| 266 |
- Here we can tick axis of symmetry (helpful) |
| 267 |
b) Grab > Settings > Size |
| 268 |
- The more the better |
| 269 |
- Pull out a part for nose |
| 270 |
c) Making scaling and rotation for similarity |
| 271 |
^ Tool 'Brush' (M ~ C) -- here we do more accurate similarity of the sphere to the head |
| 272 |
a) Type 'Smear' |
| 273 |
b) Radius 25 |
| 274 |
c) Strength 100% |
| 275 |
d) Mode 'Points' |
| 276 |
e) on forehead we smears more points |
| 277 |
f) if necessary we decrease radius |
| 278 |
^ Tool 'Brush' (M ~ C) (Part 2) |
| 279 |
a) Making similarity via 2 views: Front and Right |
| 280 |
b) We can cling for a point (it's getting highlighted) (very useful) |
| 281 |
^ Basically, we can or even should match only one side of front view, because we'll use a generator 'Symmetry' |
| 282 |
a) Go into mode 'Polygon' |
| 283 |
b) Choose a selection Rectangle (0) |
| 284 |
c) Remove one vertical side via Rectangle |
| 285 |
d) Unremoved the other part make a daughter of generator 'Symmetry' |
| 286 |
- The generator 'Symmetry' does a mistake with anchor point |
| 287 |
e) Central points make position to 0 |
| 288 |
- Flatten with scale |
| 289 |
- put a number to 0 |
| 290 |
- another method with a tool 'Set point Value' (M ~ U) which I know |
| 291 |
^ Making Mouth |
| 292 |
a) Remove in Polygons a place of mouth |
| 293 |
b) Make similarity with points next to the line, but not too near |
| 294 |
c) Select an edge of removed polygons and make 'Extrusion' into depth |
| 295 |
- Make additional cuts for more flexibility |
| 296 |
d) Making smoothing via 'Smooth Brush' (M ~ C) |
| 297 |
^ Making Smoothing |
| 298 |
a) Brush (M ~ C) where choose type 'Smooth' |
| 299 |
- Often better to decrease strength |
| 300 |
- Also choose and change radius of brush where the more radius the more influence |
| 301 |
b) Tool 'Slide (M ~ O) allows to shift point or edges along with an edge or a polygon (very useful) |
| 302 |
- So we can fix for smoothing |
| 303 |
^ Making thicker net |
| 304 |
a) Main rule is to make the best shape with a minimal number of polygons |
| 305 |
b) But try not do too big polygons |
| 306 |
- Effect method is Loop/Path Cut (K ~ L) |
| 307 |
^ If we work with generator 'Symmetry', there's no need to switch symmetry in settings of sculpting |
| 308 |
^ Tool "Pull" |
| 309 |
a) Allows to make, for instance, eyebrows |
| 310 |
b) With Pull we can make bulge |
| 311 |
c) If we hold Ctrl + LBM, we get concavity |
| 312 |
^ For smoothing there's a sculpting tool 'Smooth' |
| 313 |
^ Bevel (M ~ S) |
| 314 |
a) We can quickly make eyebrows |
| 315 |
- For smoothing we can take brush (M ~ C) or a sculpting 'Smooth' |
| 316 |
^ For Finished operation often use Subdivision Surface |
| 317 |
a) It's for finished smoothing |
| 318 |
^ Tool 'Smooth' |
| 319 |
a) very useful in the finished operation for getting rid of defects |
| 320 |
^ My Hotkeys |
| 321 |
a) Mode (Ctrl + Alt + Q) |
| 322 |
b) Points (Ctrl + Alt + A) |
| 323 |
c) Texture ( Ctrl + Alt + T) |
| 324 |
d) Edge (Ctrl + Alt + E) |
| 325 |
e) Polygons (Ctrl + Alt + R) |
| 326 |
^ Making ears |
| 327 |
a) We add one ear to the existence shape of head |
| 328 |
b) Select several polygons around an ear of reference in front and right views |
| 329 |
- Not dangerous if we take a little more |
| 330 |
c) In perspective view make an extrusion of these polygons |
| 331 |
- then in front view make similarity according to a tip of ear |
| 332 |
- then in right view the same |
| 333 |
d) After that, we make cuts with Loop/Path Cut (K ~ L) where we can quickly put a 'Number of Cuts' |
| 334 |
- We make more cuts if we want to animate a personage |
| 335 |
e) Take a Smooth Brush (M ~ C) in mode Points (Ctrl + Alt + A) in Front view |
| 336 |
- Not always to take a Smooth Brush first (depends on circumstances) |
| 337 |
- Sometimes better a Smear Brush |
| 338 |
- For making a finished shape we use a Smear Brush (M ~ C) with intensity 100% |
| 339 |
' Sometimes it's better to increase a radius for shifting near point |
| 340 |
f) For concavity we use 'Pinch' |
| 341 |
- We can work it even with mode 'Polygon' |
| 342 |
g) Pay attention to Reverse Normals (U ~ R) |
| 343 |
^ Try to get rid of big polygons |
| 344 |
^ Can't find a tool 'Pull' for making eyes |
| 345 |
a) Use 'Inflate' -- useful |
| 346 |
^ Making a nose |
| 347 |
a) Just do with one half, because it's into symmetry |
| 348 |
b) Select 2 or 4 polygons and make an extrusion (hold ctrl) |
| 349 |
- Be careful about appeared new polygons in a center which must be removed |
| 350 |
c) Then a Smooth Brush (M ~ C) |
| 351 |
d) For Nostril we select low 2-4 polygons |
| 352 |
- Inset (I) we pull deeper with better object coordinates |
| 353 |
- Sometimes do better n-angle via Slide (M ~ O) |
| 354 |
- Here's 8-gons |
| 355 |
^ For removing only edges on polygons we can use |
| 356 |
a) Melt (U ~ Z) |
| 357 |
^ Making an eye |
| 358 |
a) Create Sphere |
| 359 |
b) Rotate for 90 degrees around X axis |
| 360 |
c) Double vith making more volume for Eyelid |
| 361 |
- Just via Ctrl + Scaling (a little bigger) |
| 362 |
- Type change into Hexahedron |
| 363 |
- Convert and Remove a lower half |
| 364 |
- Eyelid make thicker where Ctrl + A for all selecting and via Extrusion (D) |
| 365 |
d) Temporarily add some colors for |
| 366 |
- eyelids |
| 367 |
- cornea |
| 368 |
- eyeball (black) |
| 369 |
- eye (basic white) |
| 370 |
e) Add some eyelashes |
| 371 |
- Make a loop/path cut (K ~ L) next to the border of an eyelid |
| 372 |
- Select the end in Polygons with Loop Selection (U ~ L) and Extrusion (D) |
| 373 |
- On a created plan make 3 cuts (K ~ L) where from the nearest edges we making down for circling |
| 374 |
- if we don't want to do the same with the low eyelid, we just copy and turn over where set 'Enable Axis' (L) |
| 375 |
f) The second eye for symmetrical position we put minus in X axis |
| 376 |
^ Making a neutral PSR of objects |
| 377 |
a) Activate 'Enable Axis' (L) |
| 378 |
b) Go into layout 'Model' |
| 379 |
c) In the very low-right we put 0 |
| 380 |
d) Better method is click on a sign 'Coordinate Manager' (Shift + F7) |
| 381 |
^ For tab 'Material Manager' (Shift + F2) we should activate in the up-right corner, next to a sign 'Null' |
| 382 |
^ For duplicating a part of an object we can use 'Split' (U ~ P) |
| 383 |
a) After it's been created a new object with a necessary part |
| 384 |
b) We should return to a previous object and delete an unnecessary one |
| 385 |
^ Enable Axis (L) in views, except perspective, we don't need to try to click on angle or arrows |
| 386 |
a) Just click everywhere and shift |
| 387 |
- Axis will be shifted only with a plane |
| 388 |
- If we want to move only with one Axis, holding Shift |
| 389 |
^ Making a jaw |
| 390 |
a) Select all deep polygons |
| 391 |
- Split (U ~ P) and work only with this detail |
| 392 |
- We can temporarily make invisible all other objects |
| 393 |
'Sometimes via 'Viewport Solo' (My Created Shift + Alt + S) |
| 394 |
b) Remove side polygons |
| 395 |
c) Select high jaw |
| 396 |
- Split (U ~ P) |
| 397 |
- Unnecessary delete for getting 2 independent jaws |
| 398 |
- Centering of Axis |
| 399 |
d) First, work with a high jaw |
| 400 |
- select polygons after one |
| 401 |
- Extrude them |
| 402 |
- Make Loop/path Cuts (K ~ L) of these polygons with 2 sides |
| 403 |
- Select created center points then slightly move them up for making a usual tooth |
| 404 |
' Sometimes we need to select edge points and move them down |
| 405 |
e) Making a tooth cutter |
| 406 |
- Select a polygon (nearest to the center) |
| 407 |
- Move down it, then move down the center edge. |
| 408 |
f) Making a fang tooth |
| 409 |
- Select inner polygons |
| 410 |
- Extrude them |
| 411 |
' just Scale and decrease up to 0 in all sides |
| 412 |
- or Scale not up to 0 |
| 413 |
' Select points, then a tool 'Weld' (M ~ Q) in the center |
| 414 |
- Add some cuts for changing position of some edges |
| 415 |
' we can get half circle |
| 416 |
g) Insert into Symmetry and Subdivision surface |
| 417 |
- Then convert it |
| 418 |
^ |
| 419 |
a) Making a low jaw we do the same as a high jaw |
| 420 |
- We can always use a Smooth Brush (M ~ C) for smoothing teeth |
| 421 |
- Don't forget about removing inside polygons that are adjacent |
| 422 |
Dissolve (M ~ N) -- allows to remove unnecessary edges. Useful. |
| 423 |
^ Mouth (part 2) |
| 424 |
a) Sometimes we should make deeper a mouth |
| 425 |
b) Select the deepest edge and pool it deeper |
| 426 |
c) Make several Loop/path Cut |
| 427 |
d) Do the last things |
| 428 |
^ Making a Torso |
| 429 |
a) Select polygons according to a reference neck |
| 430 |
- we can choose 3 rows of polygons |
| 431 |
- then remove those polygons |
| 432 |
b) Select Edge of the removed polygons |
| 433 |
- Extrude them lower, then equal with axis Z |
| 434 |
- Lower up to neck |
| 435 |
- making a similarity according to collar |
| 436 |
- Do it with Smear Brush, usual shifting, don't forget about smoothing in the end |
| 437 |
c) Lower up to groin |
| 438 |
- According to a logical line |
| 439 |
- First, making scalable, with rotation |
| 440 |
d) Loop/Path Cut (K ~ L) in the middle between the groin and the neck |
| 441 |
- We can a parallel to axis X via Scalable for Y up to 0 |
| 442 |
- Making a similarity with position and scale |
| 443 |
e) Do the same between neck and chest; chest and groin |
| 444 |
- Sometimes we help with a Smear brush (M ~ C) |
| 445 |
f) If we see that points are too up or down we can equal them with one side of scaling |
| 446 |
g) The more Loop/Path cut the better and more accurate |
| 447 |
- Just do where not similarity |
| 448 |
^ The rule is there mustn't be contrast transition in big space of polygons and little space of ones |
| 449 |
^ Get rid of sharp angle |
| 450 |
a) Smooth Brush (M ~ C) |
| 451 |
b) Smear Brush (M ~ C) |
| 452 |
- Untick 'Visual Only' |
| 453 |
^ Pat attention to equal net of polygons |
| 454 |
^ Big Radius of a Smooth Brush (M ~ C) allows to smooth very well |
| 455 |
^ A tool 'Inflation' works very well |
| 456 |
- Holding Ctrl + LBM gives delation |
| 457 |
^ A Sculpting tool 'Knife' Makes deepening |
| 458 |
- With Ctrl otherwise effect |
| 459 |
^ For deepening we can also shift selected points |
| 460 |
^ From Skew of Edges helps a Smooth Brush |
| 461 |
^ Making a Hip |
| 462 |
a) Select an edge of low polygon, Extrude |
| 463 |
b) + Select an opposite polygon |
| 464 |
- Stitch and sew (M ~ P) |
| 465 |
c) On a new polygon we Loop/Path Cut (K ~ L) make 4 equal sectors |
| 466 |
- Appeared the 3 edges in the center we make lower |
| 467 |
d) Select a close path, then make lower according to a knee |
| 468 |
- Equal relating to axis Z |
| 469 |
- A Smooth Brush in the lowest edge of the knee |
| 470 |
e) We should decrease a number of points on the horizontal edges of a knee |
| 471 |
- Start from the middle 1/3 of a knee and the middle 1/3 of a shin |
| 472 |
- Ideally a getting a cylinder with 8 points in the end |
| 473 |
f) Decreasing of points |
| 474 |
- Select 3 lower points, then Stitch and Sew (M ~ P) |
| 475 |
- Do the same through every one point |
| 476 |
- There will be new triangles that must be converted into polygons |
| 477 |
- Just select them in mode 'Polygons' and delete |
| 478 |
- After that we apply 'Close polygon' where we'll see quadrangles |
| 479 |
^ Making a hip (Part 2) |
| 480 |
a) Decreasing a number of points we make in the middle of a knee |
| 481 |
- Then between top and middle of a shin |
| 482 |
^ With Stitch and Sew (M ~ P) have to be careful, because a programme will stop working. |
| 483 |
^ Making a knee and a shin |
| 484 |
a) Make additional Loop/path cut (K ~ L) |
| 485 |
b) Some modellers advise to skew the higher and the lower cycle edges |
| 486 |
- The higher one anticlockwise |
| 487 |
- The lower one clockwise |
| 488 |
с) Select 6 polygons for making a kneecap |
| 489 |
- Hide them (Select > Hide Selected) |
| 490 |
- For showing all we return in the same mode (Polygons) |
| 491 |
d) Make similar to a circle with around points |
| 492 |
- Select the cycle edge |
| 493 |
- With Scale make an extrusion via all 3 axis |
| 494 |
e) in Perspective slightly skew, then close polygon (D) |
| 495 |
f) Created polygon (more than quadrangle) we have to convert into several quadrangles |
| 496 |
- One horizontal line in the middle |
| 497 |
- Two vertical lines |
| 498 |
g) Add edge cycles for more soften deformation |
| 499 |
h) Make the same as before till ankle |
| 500 |
^ Making a boot |
| 501 |
a) Relating to reference |
| 502 |
b) Create a usual cube with 4 segments in every axis |
| 503 |
c) Make a similarity, then convert it |
| 504 |
d) With a Smooth Brush and a Smear Brush we do more accurate |
| 505 |
e) A heel we can make just selecting 6 polygons then extrusion |
| 506 |
g) Use a Sculpting tool Grab |
| 507 |
^ Sometimes it's better to select several points on spot then shift them |
| 508 |
^ We can make a rim of a boot with |
| 509 |
a) Cycle selecting of polygons |
| 510 |
b) Inset (I) |
| 511 |
c) Scaling |
| 512 |
^ Making a chamfer |
| 513 |
a) Select necessary polygons |
| 514 |
b) Inset (I) |
| 515 |
- We can add subdivisions |
| 516 |
c) Scaling -- allows not to save equal directions in all axis |
| 517 |
^ Making a decorated part on a boot (for a little hiding of defect) |
| 518 |
a) Select a top cycle edge |
| 519 |
b) Extrude higher |
| 520 |
c) Scaling bigger |
| 521 |
d) Down with scaling smaller |
| 522 |
^ With a Sculpting Knife we can make a deformation of some things (useful) |
| 523 |
^ Modeling an arm |
| 524 |
a) Select several Polygons according to a reference of an arm |
| 525 |
- Perhaps 9 or more ones |
| 526 |
b) Delete them, then smoothing |
| 527 |
- We can extrude this part, as i want |
| 528 |
c) Count a number of points |
| 529 |
d) Create a separate cylinder with the same a number of segments |
| 530 |
- Convert then make some things of similarities |
| 531 |
e) A created done arm we attache to a T-Shape |
| 532 |
- For future right rigging and animation |
| 533 |
- The sample of the arm must be like in a person (elbows watch ahead) |
| 534 |
f) Combine a part of body and an arm with 'Connect objects + Delete' |
| 535 |
g) Stitching (M ~ P) with selected cycle points of the nearest two parts of objects |
| 536 |
^ Skinning -- a setting of bones |
| 537 |
^ Modeling an arm (part 2) |
| 538 |
a) Add some loop/path cuts (K ~ L) next to mobile parts (elbow) |
| 539 |
- The nearest cuts we rotate like with a kneecap |
| 540 |
'The nearest to the shoulder to this one rotation |
| 541 |
'The nearest to the hand to this one rotation |
| 542 |
- Can add even more cuts that are next to elbow |
| 543 |
'2 additional cuts for every side |
| 544 |
b) Making an elbow joint |
| 545 |
- Select several polygons around the elbow joint |
| 546 |
- Delete, smoothing |
| 547 |
- Extrude inner with Scaling and shifting it |
| 548 |
- Close polygon (D) |
| 549 |
- Like cut (K ~ K) for making quadrangles |
| 550 |
- Smoothing |
| 551 |
c) Author selected 12 polygons for doing 2 horizontal cuts |
| 552 |
^ Modeling a hand |
| 553 |
a) Author use a method like a boot |
| 554 |
b) Create a new file with a reference of a hand |
| 555 |
- Start with F2 |
| 556 |
c) Author models from Sphere |
| 557 |
- Segments 9 |
| 558 |
- Hehahedron |
| 559 |
d) Convert Sphere, then delete a half |
| 560 |
- The lowest side equals with scaling |
| 561 |
- Extrude up to all size |
| 562 |
e) Make additional cuts next to phalanxes |
| 563 |
- Author firstly moving up edges for making falanxes |
| 564 |
^ Several methods of convexity of sth |
| 565 |
a) Select several polygons |
| 566 |
- Extrude them, Scale |
| 567 |
b) Select Several polygons |
| 568 |
- Delete them, smoothing points |
| 569 |
- Scale with ctrl |
| 570 |
- Close polygon |
| 571 |
- add some cuts for quadrangles |
| 572 |
^ Modeling a hand (part 2) |
| 573 |
a) Sometimes, it's better not to make lots of paths for one finger |
| 574 |
- We copy the finger for others |
| 575 |
b) Select and copy from the index finger to the middle one |
| 576 |
- We make a similarity |
| 577 |
- We should increase a distance between fingers, unlike reference, for skinning |
| 578 |
- The length of other fingers we can change just with scaling of one axis in mode 'Model' (Ctrl + Alt + Q) |
| 579 |
c) Fingers should be like on the same part of an imaginary ring |
| 580 |
- Thumb must be turned like in a real life |
| 581 |
d) We should slightly make higher a middle and a ring fingers |
| 582 |
- Pinky finger lower |
| 583 |
d) Select all fingers, then 'Connect objects + Delete' |
| 584 |
e) Between fingers we select near edges |
| 585 |
- Stitch and Sew (holding Shift for creating a polygon between them) |
| 586 |
'If hold Ctrl, edges are in the centre without creating an additional polygon |
| 587 |
'If don't hold anything, the first edges will be stitched to the second ones |
| 588 |
f) Additional cuts better do in the first finger before copying |
| 589 |
- For author the optimal limit of polygons is 30 000 |
| 590 |
g) Select the hugest cycle edge, then extrude according to the reference |
| 591 |
- on F2 easier and more comfortable |
| 592 |
- on F1 Smoothing points till circle or oval |
| 593 |
'Useful on 100 Strength a Smooth Brush |
| 594 |
^ Modeling a hand (part 3) |
| 595 |
a) Insert a prepared hand into the main project |
| 596 |
b) According to the reference we scale (make a similarity) |
| 597 |
- Better in Vertical position of the hand |
| 598 |
с) After that we attache the hand to the end of elbow |
| 599 |
- Here we can use smooth, smear |
| 600 |
- Scale up to 0 in the main axis for equaling side |
| 601 |
d) Extrude the edge of the hand |
| 602 |
- So we get a glove |
| 603 |
e) To make sure that the glove completely arounds the elbow |
| 604 |
- We can put different materials on the glove and the elbow |
| 605 |
^ In most accidents a personage should be the whole object |
| 606 |
a) Not from separate pieces |
| 607 |
b) But there are some pluses |
| 608 |
- Separate pieces can be replaced |
| 609 |
c) Sometimes, better not to remove inside ending parts that are hidden into a separate part |
| 610 |
d) The end edge we Scale (holding Ctrl) |
| 611 |
- Shift toward the glove |
| 612 |
- Scale down |
| 613 |
- It's similar to collar |
| 614 |
^ Sometimes it's useful a tool 'Iron the mesh' (M ~ G) |
| 615 |
- Globally influences |
| 616 |
- For smoothing or strengthing |
| 617 |
^ 2 Main things of modeling |
| 618 |
a) Smoothness of lines |
| 619 |
b) Equality of polygons |
| 620 |
^ Modeling a hand (part 4) |
| 621 |
a) On the glove we make a triangle cut |
| 622 |
- Some new points (next to or on the lines) we should stitch (M ~ P) |
| 623 |
- There are some new triangles which are acceptable, because no future animation in that part |
| 624 |
- Make Extrusion of lines, then smoothing |
| 625 |
b) Make knuckles via Grab or better Inflate |
| 626 |
c) Make finger pads via Grab or better Inflate |
| 627 |
- Do else with palm |
| 628 |
^ Fine-tuning for all body |
| 629 |
a) First, watch equality and smoothness of polygons |
| 630 |
- But not always |
| 631 |
b) Adding Collarbones via a 'Inflate' |
| 632 |
^ The last operation after modeling a body |
| 633 |
a) Watch and try to equal some polygons, not all |
| 634 |
b) Make collarbone |
| 635 |
c) Add some muscles such as |
| 636 |
- Deltoid muscle |
| 637 |
- Biceps |
| 638 |
- Triceps |
| 639 |
d) Add shoulder blades |
| 640 |
e) Add some buttocks |
| 641 |
f) Add something on back part of knees |
| 642 |
^ The last operation after modeling a body (part 2) |
| 643 |
a) Via a sculpting knife we can make fine borders between parts of a body |
| 644 |
b) A Grab is very useful when we want to move some part |
| 645 |
- It's useful with concavity or convexity |
| 646 |
' Waist and so on. |
| 647 |
c) Add a little belly |
| 648 |
d) Add via a knife a line under the chest |
| 649 |
e) Add via a knife a line in the groin |
| 650 |
- A knife better with a small radius, otherwise too big influence |
| 651 |
^ Making a tail + Stitching with body |
| 652 |
a) Make a hemisphere via hexahedron |
| 653 |
- 6 segments, because there will be 8 points on the middle for stitching |
| 654 |
b) Extrude with rotate, sclale, position according to a reference |
| 655 |
- Here for accurate we can use a Smear Brush |
| 656 |
- Don't forget about watching perspective |
| 657 |
c) add some polygons |
| 658 |
d) After making the tail we convert the symmetry body into a single object |
| 659 |
- Before converting we should save a project for future using of other aims |
| 660 |
e) After that we connect the body and the tail |
| 661 |
- At the place of stitching on the body we delete 4 polygons |
| 662 |
- Circling points |
| 663 |
- Select them and select points of the tail |
| 664 |
- Stitch and sew them with holding ctrl |
| 665 |
f) Add some cuts, because it's a dynamic part |
| 666 |
g) Common smoothing |
| 667 |
^ The most final par of modeling |
| 668 |
a) Choose an 'Iron' where slightly making smoothing of all body |
| 669 |
- Effective method, because after that we don't have to work with subdivision surface, which takes lots of power of CPU |
| 670 |
- Do the same with other parts (gloves, boots) of an object |
| 671 |
b) Better to combine body and gloves and boots |
| 672 |
- Easier to do rigging |
| 673 |
c) Try to get rid of Subdivision Surface |
| 674 |
- Much better for your mainframe |
| 675 |
d) After making a single combined object we have to correct coordinates |
| 676 |
- X and Z must be 0, Y -- 0 or in the middle |
| 677 |
^ Similarity of height -- we make it for similarity to a real life |
| 678 |
a) It will be helpful to work in other programs |
| 679 |
- Motion Builder |
| 680 |
- Endorphin |
| 681 |
- Marvellous |
| 682 |
b) Make sure that our object in centimetres |
| 683 |
- Edit > Project Settings (Ctrl + D) |
| 684 |
c) All objects we make into the main group |
| 685 |
d) Choose command 'Measure and Constraction' |
| 686 |
- Tool > Guide > Measure and Construction |
| 687 |
- Tool > Commander (Shift + C) > type 'Measure and Construction' |
| 688 |
e) in Attribute of Measure and Construction |
| 689 |
- Point 1 > Position -- everywhere 0 |
| 690 |
- Point 2 > Position Y -- 173 cm |
| 691 |
f) Making similarity of the main group up to the rule |
| 692 |
- After that we can delete the main group without children |
| 693 |
'My created hotkey (Shift + Alt + D) |
| 694 |
- Delete measure in Attributes |
| 695 |
'We can create a lot of Measure and constructions, then choose among them |
| 696 |
^ My created hotkey (Shift + Alt + D) is for 'Delete without children' |
| 697 |
^ Making a cloth |
| 698 |
a) There are 3 variants of making a cloth |
| 699 |
b) The first variant |
| 700 |
- Form-fitting cloth |
| 701 |
' There is no need to model a cloth, just paint on a body |
| 702 |
' It's a creating a texture or material on the surface of a body |
| 703 |
' We can also choose any image and insert into a texture material (really helpful) |
| 704 |
- The simplest method of creating a cloth |
| 705 |
- In Layout 'UVEdit' we can paint sth in photoshop, creating a paint on a model |
| 706 |
' Here we have to know how to create UV Grid |
| 707 |
c) The second variant -- when a cloth models with a personage |
| 708 |
- A cloth is modeled from geometry of a personage |
| 709 |
d) The third variant -- it's a creating of a dynamic cloth |
| 710 |
^ The third variant |
| 711 |
a) Make some converted object with lots of segments |
| 712 |
b) Inset Tags > Simulation > Cloth on this object |
| 713 |
c) Inset Tags > Simulation > Cloth belt |
| 714 |
d) Choose another object |
| 715 |
- Tags > Simulation > Collider on it |
| 716 |
e) We can put the first object (Tags Cloth and Cloth belt) into Cloth Surface |
| 717 |
- Cloth Surface is in a group of Subdivision Surface |
| 718 |
f) Select the first object |
| 719 |
- Front view F4 |
| 720 |
- Select 2 up rows of points |
| 721 |
- Go into Tag 'Cloth Belt' |
| 722 |
- Put the second object into Tag 'Cloth Belt' > Belt on |
| 723 |
- Click 'Set' |
| 724 |
- In the tag 'Cloth' we can change some parameters for comfortable animation |
| 725 |
g) Animation's been prepared |
| 726 |
- If we animate position of the second object, the first one goes after that |
| 727 |
h) There are more comfortable other variants of creating cloth |
| 728 |
- A program 'Marvellous' |
| 729 |
- A program 'Claw 3d Enterprise' |
| 730 |
* |
| 731 |
^ Creating UV-mapping |
| 732 |
a) Allows to make a texture on a 3d-object |
| 733 |
b) Go into a layout 'UV-edit' |
| 734 |
- The program automatically will create an uncomfortable 3d-mapping |
| 735 |
c) We have to create by ourselves |
| 736 |
d) There are several methods of creating of uv-mapping |
| 737 |
^ The first method of creating of uv-mapping -- Manual cutting |
| 738 |
a) in UV-edit, Edges mode, take cycle selection (U ~ L) |
| 739 |
b) Select in a boundary between |
| 740 |
- Head and Neck |
| 741 |
- In Shoulder |
| 742 |
- Hand and Elbow (in both sides, lower the same) |
| 743 |
- Leg and Groin |
| 744 |
- In Anckle |
| 745 |
c) Make selecting in those places where it's a minimal view for viewers |
| 746 |
- On the back parts of legs |
| 747 |
- on the low parts of arms |
| 748 |
d) For stitching we make additional selecting, such as |
| 749 |
- Vertical selecting in from head up to the groin |
| 750 |
e) Go into mode 'Texture' (Ctrl + Alt + T) |
| 751 |
- The objects must stayed selected |
| 752 |
- UV Manager > Projection > click on 'Flat' |
| 753 |
- UV Manage > Projection > click on 'Relax UV' |
| 754 |
' Tick "Cut Selected Edges" |
| 755 |
' Click "Apply" |
| 756 |
f) Couldn't find optimal projection |
| 757 |
^ The second method of creating of uv-mapping |
| 758 |
a) Example on a head |
| 759 |
- Select half of head in polygons |
| 760 |
- go into mode 'Texture' (Ctrl + Alt + T) |
| 761 |
- Projection > Flat |
| 762 |
- Relax UV > untick 'Cut Selected Edges' |
| 763 |
- Apply |
| 764 |
- Via Move (E) we change made part into another part of the place |
| 765 |
- Do everything the same on the other half of the head |
| 766 |
b) Example on a head (part 2) |
| 767 |
- The second part of the head move nearer to the first one |
| 768 |
- Select some polygons |
| 769 |
- Command UV > Connect UV (didn't find) |
| 770 |
- Select all got head > Relax UV > Apply |
| 771 |
- After that we get a symmetrical razvertka (don't know a word) of the head |
| 772 |
^ Creating UV-mapping (part 2) |
| 773 |
a) We have to make right cuts |
| 774 |
b) Star with cycle selection (U ~ L) |
| 775 |
- Between Neck and Body |
| 776 |
- In bottom of Ears |
| 777 |
- In bottom of arms |
| 778 |
- in bottom of gloves |
| 779 |
- in sole of boots |
| 780 |
- in bottom of boots |
| 781 |
- in bottom of legs |
| 782 |
- in bottom of tail |
| 783 |
- in bottom of mouth |
| 784 |
c) Continue with longitudinal section |
| 785 |
- Choose a tool 'Path Selection' |
| 786 |
- it's making for cutting of cylinders, because all parts are similar to cylinder or sometimes conus (ears) |
| 787 |
- Select in a back part of ears from bottom of the cycle to the top |
| 788 |
- Select in the centre of a head up to tail |
| 789 |
- Select the tail |
| 790 |
- Select under the tail up to the groin |
| 791 |
- Select mouth |
| 792 |
- Select in back part of hands |
| 793 |
- Select in the gloves in 2 places |
| 794 |
' from thumbnail up to cut |
| 795 |
' additionally, from thumbnail up to pinky |
| 796 |
' where decorating |
| 797 |
- Ideally, selecting better make without bending (path selection) |
| 798 |
- Select in boots |
| 799 |
d) After making all cycle and path selections |
| 800 |
- Go into UV Manager > Projection > Flat |
| 801 |
- UV Manager > Relax UV |
| 802 |
' Tick "Cut Selection Edges" |
| 803 |
' Change from LSCM into ABF |
| 804 |
' Apply |
| 805 |
- Mistake (There seem to be some degenerate polygons) |
| 806 |
** |
| 807 |
* Face modeling (a lesson from 3D PASSION https://www.youtube.com/watch?v=hP0hMbTCk5o) |
| 808 |
^ Face modeling (part 1) |
| 809 |
a) Look for an appropriate reference |
| 810 |
- Steps the same in Front and Right Views references in Tab Back |
| 811 |
b) Create a Disc: for eyelids |
| 812 |
- Disc Object has these characteristics |
| 813 |
' Inner Radius (default 0) |
| 814 |
' Outer Radius (default 100 cm) |
| 815 |
' Disc Segments (default 1; circumference length) |
| 816 |
' Rotation Segments (default 16) |
| 817 |
' Orientation (default +Y) |
| 818 |
c) In Disc we put 8 Rotation Segments |
| 819 |
- Inner radius do nearer to the Outer Radius |
| 820 |
d) After making this task, we put eyelids into a symmetry |
| 821 |
- Symmetry with (L) make position up to 0 |
| 822 |
e) Very useful to use all views F5 |
| 823 |
f) The most left part we attach to 0 position, then add some settings for the bridge of the nose |
| 824 |
** |
| 825 |
* |
| 826 |
^ Preferences > Input Devices |
| 827 |
a) Graphics Tablet -- should be switched |
| 828 |
* |
| 829 |
^ Viewport > View |
| 830 |
a) Film Move |
| 831 |
b) Film Magnify |
| 832 |
c) Film Zoom |
| 833 |
- Can't understand the difference among a), b) and c) |
| 834 |
d) 3d Connexion -- used for 3d mouse |
| 835 |
e) Undo View (Ctrl + Shift + Z) -- for return to a previous step of a camera view |
| 836 |
- So-so |
| 837 |
f) Redo View (Ctrl + Shift + Y) -- go ahead to a step which was rejected of a camera view |
| 838 |
- So-so |
| 839 |
^ Viewport > View (part 2) |
| 840 |
a) Save > Send to picture viewer -- it's similar to a render frame (Shift + R), but unlike, it includes everything |
| 841 |
- A picture can be saved in lots of formats |
| 842 |
b) Save > Send to magic bullet looks -- an interesting function, where we can colorize of our picture |
| 843 |
c) Configure > Configure (Shift + V) |
| 844 |
d) Configure > Configure Similar (Shift + Alt + V) |
| 845 |
e) Configure > COnfigure All (Alt + V) |
| 846 |
f) Redraw (A) -- for updating viewports |
| 847 |
- Sometimes C4d can't update viewport because of lots of tasks. This function helps very well |
| 848 |
* |
| 849 |
^ Cameras > Navigation |
| 850 |
a) Cursor Mode (Default) |
| 851 |
- We can set a default mode in Prefences > Navigation |
| 852 |
- Allows to scale, rotate around cursor |
| 853 |
b) Center Mode |
| 854 |
- Allows rotate around center of the viewport |
| 855 |
c) Object Mode |
| 856 |
- Allows rotate around a selected object |
| 857 |
d) Camera Mode |
| 858 |
- The editor camera rotates itself |
| 859 |
e) Camera 2D Mode |
| 860 |
- Allows |
| 861 |
^ Viewport > Cameras |
| 862 |
a) Use Camera > Selected Object as Camera: very useful |
| 863 |
- We can set any object, for example, Null as Camera |
| 864 |
- The camera watches along axis Z |
| 865 |
- We can change position the selected object-camera to any position |
| 866 |
- It's used for checking which objects a light source can see |
| 867 |
- For switching to the editor camera Cameras > Default Camera |
| 868 |
b) Default Camera (Default) -- activates the editor camera |
| 869 |
c) Parallel -- the vanishing point is infinitely distant |
| 870 |
- All lines are parallel |
| 871 |
d) Projection > Gentleman -- it's an ideal view for architecture |
| 872 |
- X:Y:Z -- 1:1:0.5 |
| 873 |
e) Projection > Isometric -- a popular choice for technical subjects |
| 874 |
- X:Y:Z -- 1:1:1 |
| 875 |
f) Projection > Diametric -- it's a similar to Isometric projection, but |
| 876 |
- X:Y:Z -- 1:1:0.5 |
| 877 |
** |
| 878 |
* |
| 879 |
^ Display -- here we can choose among several modes |
| 880 |
^ Display > Shading Modes -- we can define the settings separately for each view using the viewport settings |
| 881 |
a) Gouraud Shading (N ~ A) -- A standard shading mode |
| 882 |
b) Gouraud Shading Lines (N ~ B) -- Another standard shading mode |
| 883 |
c) Quick Shading (N ~ C) |
| 884 |
- Similar to Gouraud Shading (N ~ A) |
| 885 |
- The auto light is used instead of the scene's lights to calculate the shading |
| 886 |
d) Quick Shading Lines (N ~ D) |
| 887 |
- Similar to Gouraud Shading Lines (N ~ B) |
| 888 |
- The auto light is used instead of the scene's lights to calculate the shading |
| 889 |
e) Constant Shading (N ~ E) -- it allows one color image without shades |
| 890 |
f) Constant Shading Lines -- color with lines without shades |
| 891 |
f) Hidden Lines (N ~ F) -- objects are hidden, but we can see outer lines |
| 892 |
- it's useful |
| 893 |
g) Lines (N ~ G) -- objects are hidden, but we can see all lines |
| 894 |
^ Display > Shading Modes (part 2) -- can be combined with 'Wire' |
| 895 |
a) Wire > Wireframe (N ~ H) -- Default |
| 896 |
- Shows lines of polygons |
| 897 |
b) Wire > Isoparms (N ~ I) |
| 898 |
- Shows lines of generators |
| 899 |
c) Wire > Box (N ~ K) -- some objects are seen like cubes |
| 900 |
- it's the second fastest display mode |
| 901 |
- For extreme scenes |
| 902 |
- Each box has the same dimensions as the object it represents. |
| 903 |
d) Wire > Skeleton |
| 904 |
- Didn't fine it |
| 905 |
- This is the fastest display mode of all |
| 906 |
- It is only suitable for hierarchical structures |
| 907 |
- Each object origin is shown as a small dot and the dots are connected according to the hierarchy |
| 908 |
- This mode can be useful for character animation |
| 909 |
- It also removes non-critical lines to expose the skeleton |
| 910 |
^ Try to reduce the size of the viewport for better speed of you CPU and GPU |
| 911 |
* Viewport > Options |
| 912 |
^ Options > Level of Detail -- Defines the LOD (level of detail), i.e. how detailed certain objects will be displayed in the viewports |
| 913 |
- Not all objects support LOD |
| 914 |
- The lower the setting, the faster the display |
| 915 |
a) Low -- 25% |
| 916 |
b) Medium -- 50% |
| 917 |
c) High (default) |
| 918 |
d) Use Render LOD for Editor Rendering |
| 919 |
- Here we can define for each view if the LOD defined in the respective settings (e.g. Subdivision Surfaces) should be used for rendering |
| 920 |
^ Options > Stereoscopic -- (default switched off) allows to switch a stereoscopic display in the viewport. |
| 921 |
a) A stereoscopic depictions is only possible in the Parallel and Perspective views |
| 922 |
^ Options > Safe Frames -- this function can be used to hide or show the dark bands for safe frames at the viewport edges |
| 923 |
a) Didn't find it |
| 924 |
^ Options > Linear Workflow Shading (default tick) -- The display of colors, shaders, etc. in the viewport can be turned off, in consideration of linear workflow |
| 925 |
^ Options > Effects -- allows to show effects in the current viewport |
| 926 |
a) Effects |
| 927 |
- The complex the scene the slower the refresh rate will be |
| 928 |
- Note that you can also define at material level which channel should be displayed (Viewport channel) |
| 929 |
b) Transparency |
| 930 |
- Use this setting to define whether or not transparency should be displayed in high quality |
| 931 |
- Note that antialiasing doesn't work in the viewport in this mode |
| 932 |
с) Shadows |
| 933 |
- Use this setting to define whether or not transparency should be displayed in high quality |
| 934 |
d) Post Effects |
| 935 |
- Use this setting to define whether or not transparency should be displayed in high quality |
| 936 |
- Note that there is only limited support for C4d post effects |
| 937 |
' The cartoon Renderer post effect |
| 938 |
' Enabled color |
| 939 |
' Lighting |
| 940 |
' Step options |
| 941 |
- This option is primarily designed for plug-ins that use post effects. |
| 942 |
e) Magic Bullet Looks |
| 943 |
- Enable this option if you want Magic Bullet Looks to be applied directly in the Viewport. |
| 944 |
- The Magic Bullet Looks post effect must also be enabled in the Render Settings Menu |
| 945 |
f) HQ Noises |
| 946 |
- This is where you can enable the display of the Noise Shader for higher quality |
| 947 |
^ Options > Effects (Part 2) |
| 948 |
a) Reflections |
| 949 |
- Defines whether or not reflections should be displayed |
| 950 |
b) SSAO |
| 951 |
- Defines whether or not an Ambient Occlusion approximation should be Rendered in the Viewport |
| 952 |
с) Tessellation |
| 953 |
- Defines whether or not tesselation should be displayed for respective objects in the Viewport. |
| 954 |
d) Depth of Field |
| 955 |
- Defines if a simulated depth of field should be displayed |
| 956 |
e) Shadow Hinting |
| 957 |
- For selected objects, including child objects, Shadow Hinting casts a shadow downwards. |
| 958 |
- This effects helps you 'read' the scene with regard to depth. |
| 959 |
- You can better approximate the height and distance of objects from one another |
| 960 |
- The effect is similar to shadows generated by an infinite light source |
| 961 |
- Shadow Hinting can, of course, not complete with a real shadow, which means that, for example, an object will not receive shadows |
| 962 |
f) Backface culling (N ~ P) -- Use this option to toggle backface culling on or off when in Lines mode (N ~ G). |
| 963 |
- Backface culling (N ~ P) can speed up the display and make the scene easier to understand and edit |
| 964 |
- With Backface culling (N ~ P) all concealed surfaces are hidden |
| 965 |
- A backface is a surface that points away from the camera |
| 966 |
- Cinema 4d knows the direction of a surface by looking at its surface normal |
| 967 |
- If the surface normal points towards the camera, the surface is a front face |
| 968 |
- If the surface normal points away from the camera, the surface is a backface and it's not drawn when Backface Culling is enabled |
| 969 |
- Figure 1 demonstrates the backface principle |
| 970 |
- By convention, the Normals should point outwards from their surfaces, as in Figure 1 |
| 971 |
- Objects with Normals that point inwards may cause display errors |
| 972 |
- To remedy, reverse the Normals, as illustrated in figure 2, using the Reverse Normals (U ~ R) command (Function menu) |
| 973 |
^ Options > Isoline Editing (Alt + A) |
| 974 |
a) If enabled (default enabled), all Subdivision Surfaces cage object elements (points, edges, polygons) will be projected onto the smoothed Subdivision Surfaces object so that these elements can be selected directly on the smoothed object |
| 975 |
b) Note: even if it looks like you are editing the elements on the smoothed object you are actually only scaling, extruding, cutting, et. the cage object's elements |
| 976 |
^ Options > Layer Color |
| 977 |
a) Objects assigned to a layer can be displayed in the editor view in the color of that respective layer |
| 978 |
b) This lets you quickly see which objects have been assigned to which layer |
| 979 |
^ Options > Polygon Normals |
| 980 |
a) When in Polygon Mode, the display of polygon normals can be turned of or off here |
| 981 |
b) Default disabled |
| 982 |
^ Options > Vertex Normals |
| 983 |
a) When in Use Point, Use Edge or Use Polygon mode, this option can be used to enable or disable Vertex Normals |
| 984 |
b) I can see only in Polygon Mode |
| 985 |
^ Options > Tags (N ~ O) |
| 986 |
a) If this option is enabled, the objects will use the display mode defined in their Display tags (if present) |
| 987 |
b) Objects without a Display tag will continue to use the viewport's shading mode |
| 988 |
c) Default Enabled |
| 989 |
^ Options > Materials (N ~ Q) |
| 990 |
a) Default Enabled |
| 991 |
b) This option can be used to enable or disable the display of textures (bitmaps/shader) in the Viewport |
| 992 |
c) This option can also be used to turn the material display on or off |
| 993 |
d) The material display can be turned on or off for each object individually |
| 994 |
e) To do so, create a Display tag in the Object Manager |
| 995 |
- Object Manager > Render Tags > Display Tags |
| 996 |
^ Options > X-Ray (N ~ R) |
| 997 |
a) Default disabled |
| 998 |
b) To acitvate the X-Ray effect enable this option |
| 999 |
c) If the acitve object is an object (applies to all that are made up of polygons or generate polygons), it will become semi-transparent so that you can see its concealed points and edges. |
| 1000 |
d) This is particularly helpful with polygon-based modeling since it enables you to see concealed components in the Gouraud shading and quick shading modes. |
| 1001 |
^ Options > Volume Vectors -- for volume vectors, you can define here how they should be displayed in the viewport |
| 1002 |
a) Direction -- The vectors will be colored according to their direction |
| 1003 |
b) Length -- The vector length will be used as a visual measure for the vector value (strength) |
| 1004 |
- Black for smaller |
| 1005 |
- White for greater strength |
| 1006 |
c) In the image above you see the distribution of velocity of the gasses move primarily upwards along the Y axis |
| 1007 |
d) In Length mode, the vectors are colored white near the flames |
| 1008 |
- Here especially high velocities take place |
| 1009 |
e) The type of display can also be defined at object level in the Display tag |
| 1010 |
* Views and Viewports > Filter |
| 1011 |
** |
| 1012 |
* Creating Animated Book |
| 1013 |
^ |
| 1014 |
a) Cube with sizes 210x1x297 |
| 1015 |
b) Insert Deform "Spline Wrap" |
| 1016 |
c) Cube into Generator MoSpline |
| 1017 |
d) MoSpline > Simple -- has lots of interesting features |
| 1018 |
- Angle P |
| 1019 |
- Curve |
| 1020 |
- Bend |
| 1021 |
- Twist |
| 1022 |
* Making curtains |
| 1023 |
^ 1 Method |
| 1024 |
a) Create plane with more polygons (40x40) |
| 1025 |
- Width and Hight: 400 x 800 |
| 1026 |
- Convert |
| 1027 |
b) Insert a Tags > Simulation tags > Cloth |
| 1028 |
- Here we can change some settings |
| 1029 |
- Even include some forces |
| 1030 |
- Effect is visible only with animation |
| 1031 |
c) Select several points (all high) > Dresser > Fix Points: Set |
| 1032 |
- Color of selected points must change |
| 1033 |
d) For deforming necessary part |
| 1034 |
- Create an object as a limiter |
| 1035 |
- Put onto the object Tags > Simulation Tags > Collider |
| 1036 |
- Make animation of position because we can see the result only with animation |
| 1037 |
- We can copy several limiters |
| 1038 |
e) After a good frame we select the main curtain > Current state to object |
| 1039 |
- Other we can remove |
| 1040 |
- For more thickness and smoothness we can use generator "Cloth Surface" or "Subdivision Surface" |
| 1041 |
** |
| 1042 |
* Making an Ornament (Pieces of Advice) |
| 1043 |
^ |
| 1044 |
a) Extrude (D) make on the outer polygons |
| 1045 |
b) A center part of an ornament we dissolve (M ~ N) |
| 1046 |
c) To Start with a converted plane 1x1 where we make similarity to a reference |
| 1047 |
d) Highligting X, Y or Z works as a blocker -- Convenient |
| 1048 |
e) On F2, F3, or F4 useful polygon pen (M ~ E), because a quick change of position only on 2 axis |
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