Anne Powers

Dynamics and Special Effects

One of the largest improvements to CINEMA 4D R12 is in the dynamics engine that drives the Rigid and Soft Body dynamics. The relationship between these engines and the MoGraph elements are especially rewarding. Along with checking out the latest and greatest in dynamic simulations, we’ll also take a look at some of the best special effects options in the Hair and Cloth engines as well as CINEMA 4Ds particle-effects powerhouse, PyroCluster.

More out of MoGraph

MoGraph is a special engine designed to generate all kinds of effects. A huge part of MoGraph is focused on Cloning. Cloning gives you the ability to mass produce objects or groups of objects instantly. MoGraph also gives you some incredible tools to create and control animation of those clones. The main tools that you will use to animate the Cloners are the Effectors. There are also some specialized MoGraph generators that allow you to break apart and animate components of your shapes. We’ve already looked at one in the PolyFx object and the other is the Fracture object. Lastly, in Release 11.5, a new Dynamics engine was added to create amazing new keyframe free animation of your Clones and special MoGraph objects. As you will see in the Dynamics chapter, the new dynamic tools have been expanded to include all objects. Before we cover the details of these numerous options, lets look at the basics of Cloners and Effectors. Clones are made simply by subordinating an object or many objects under a Cloner. You have quite a few options as to how the number and shape of the Cloners will be created. Inthe following example, we look at the major options for creating Cloners, many of which are covered in detail in this chapter. Note that even more Cloner examples can be found on the DVD in the More Out of MoGraph chapter. Figure options Download full-size image Download as PowerPoint slide

The Power of Primitives

Like most 3D programs, CINEMA 4D has a set of primitive building blocks that are parametric. Basic parameters of a primitive, or critical dimensions such as, height and radius, are defined mathematically. Because the program only has to remember a few bits of information, parametric primitives are efficient. The parametric values for an object may be manipulated live in the Editor Window using the orange parametric handles, but the objects surface has no points, polygons or edges that may be pushed and pulled into more complex forms. In the parametric state, the surface and axes of an object are not editable. Notice that every time you choose a primitive, it appears at the same place in the center of the 3D world. This is called the origin and sits at (coordinates 0,0,0), and it has a set of red (X), green (Y), and blue (Z) object axes that show how the object is oriented.

After Effects Integration

For motion graphics artists, special effects artists, matte painters and compositors, integration into After Effects from 3D programs is a must. As with Photoshop, After Effects has the ability to allow the editing of our 3D scenes without having to rerender the work. This saves a huge amount of time and preserves consistency as well. In this chapter, we will focus on one of the largest areas where,CINEMA 4D and After Effects are used, motion graphics. The exercise in this chapter is set to show the fundamental workings of the C4D AE plugin and how the two softwares are linked to allow the editing of 3D scenes in post. If After Effects integration is of interest to you, make sure you check out the folder of the same name on the DVD. It is loaded with information on going from C4D to AE as well as a walkthrough of installing the AE plugin provided with C4D for After Effects.

Deformers and Other Modeling Helpers

Deformers and the modeling helpers available in CINEMA 4D are not only great for helping us build models, but to animate them as well. Powerful modeling objects such as Booles, allow users to control how objects relate to one another to create complex models from simple shapes. In this chapter we’ll look at how you can take your modeling skills up a notch using these in combination.

Better under Lights

CINEMA 4D includes a default light every time you open a new scene. If illuminating a scene were the only function of lighting, you would never need to create or edit a light. Artistically, however, light can be used to invoke mood and drama, enhance modeling and spatial depth, paint the scene with color, influence textures, focus attention, invent magic, and so much more. After an introduction to basic lighting setup, this chapter will concentrate on some of the creative possibilities of lighting. Time spent studying different types of lights and their settings in the online Help and investigating resources about photographic or theatrical lighting will pay big dividends in the look of your work.

Rigging a Character

A successful character begins with solid conceptualization and then is made practical by a model that has an optimized geometric build suitable to bend and react correctly during animation. The next step is a solid rig that provides the controls animators need to take a great character or creature design to a great character or creature. I created the model for this exercise in the same way we built the head in the previous chapter, knowing during the construction of the model where extra subdivisions and edge loops would be necessary for smooth animation. In summary, great character animation is a full process, and the rig is just one of the major components to being successful.

BodyPaint 3D: The Artist's Connection

If you like 3D, but miss the intuitive hands-on surfacing of 2D painting and drawing, get ready to love 3D. BodyPaint makes the connection between the constructive ways of creating 3D objects and the placement of designed materials on those objects with the 2D methods artists have used for centuries to lovingly craft surfaces. With BodyPaint, the artist can apply familiar 2D drawing and painting skills directly onto the 3D model. In addition, many of the features of your favorite digital imaging applications are right there in BodyPaint, ready to go to work. With BodyPaints Raybrush Render view, rendering is going on while you paint, so you have real-time feedback on the painting process. BodyPaint 3D allows artists to work more intuitively without getting tangled up in the digital tools, and even has a resident Wizard to whisk you past the complication of UVW mapping and get you right to work doing what artists do best.