It's not always easy or convenient, but cmiVFX is dedicated to bringing you the very best in tutorial content quality, and this video is certainly worth its weight in gold. We've brought you one of our top-notch-expert Mentors, Mr.
Jun 7, 2014 - Subsurface scattering is critical for creating materials for all different kinds of surfaces like paper, marble, wax, and most importantly, skin. CGTalk > Software > Maxon Cinema 4D > Subsurface Scattering. Pro, to do pearls. Here is the image: http://homepage.mac.com/primitivx/.
Chris Tedin, and he will be guiding you through the process using Arnold with Cinema 4D to achieve some excellent results in a variety of scenarios with this special video. We will start off by giving you a quick rundown of the basic integration of Arnold into Cinema 4D and then we'll cover a wide range of topics including standard materials, lights, the sky shader, HDRI lighting, subsurface scattering, volumetrics, the skin shader, displacement maps, and so much more.
Use this video to enhance your knowledge and put yourself a step ahead of the competition. Chapter Descriptions Chapter 1 - Basic Integration of Arnold into Cinema 4D This chapter introduces Cinema 4D users to the basic functions of the Arnold render system, as well as the Arnold user to the specific integration of Arnold in Cinema 4D. The user will create basic objects, assign the Standard material to the objects, and create a mesh light using the mesh light tag. Chapter 2 - Standard Materials and Lights The user will learn the various settings of the Standard material, including the specular controls, which are tied to reflectivity. The highlights of the material can be adjusted using the glossy and anisotropic settings. A few of the Standard lights will be explored, including mesh area lights and photometric IES lights. The video will show how to find and load IES lights, and their effect on volumetrics will be demonstrated in later chapters.
The concept of penumbra will be demonstrated, as well as techniques for controlling soft shadow quality and optimizing render time. Chapter 3 - Physical Sky Shader The latest technology in rendering realistic light transport through atmospheric effects is included in Arnold, and it is a very effective method for creating realistic or stylized environments. We will explore the settings, and show you how to achieve realistic and mood-filled scenes in a later chapter. Chapter 4 - HDRI Lighting If you want more specific, manually generated environments, this chapter will explore the highly optimized and mature HDRI lighting system available for professional integration of cg elements into filmed plates.
Essential for VFX artists, this system allows you to use both latlong and mirror ball image sources with a high level of realism. Chapter 5 - Subsurface Scatter and Volumetrics In this section, we will cover the Subsurface Scatter Skin shader and we will go over shallow, mid, and deep light scattering. This powerful shader will help you create not only skin, but many translucent materials, including marble, milk, fruit and vegetables, as well as many other effects.
Also, we will add atmospheric volume shaders to the scene, and help you with various mood enhancing effects. Chapter 6 - Skin Shader and Displacement We will use the Subsurface Scatter material, along with displacement maps to add detail and life to a character in this chapter.
Chapter 7 - Lighting an Exterior Scene Feeling tired? Pull over and learn how to add a spooky environment to this rest stop.
Subsurface Scattering Shader
We'll show you how to take a scene file that's provided for you in Cinema 4D, add volumetrics, a daylight system (to create a setting sun or moonlit scene), and some light-emitting geometry to create a neon effect. Chapter 8 - Comparing Arnold to Cinema 4D Here we will compare Cinema 4D's method of irradiance mapping to Arnold's approach. Chapter 9 - Lighting an Interior Trying to get that 'Film Noir' look? Well, there's nothing like Arnold to help you get the most drama out of your romantic/murder/thriller scene.
Operate lights with gobos, and become a virtual director of photography. Now, just a little more fake blood'¦ Chapter 10 - Rendering Glass We will set up a nice studio scene and render a wine glass. Using the standard material, the Swiss Army Knife of materials, we'll set the index of refraction, and several other tweaks to help make a nice realistic scene. Chapter 11 - Arnold Procedural.ass Files Using.ass procedural stand-in objects will change the way you work, guaranteed. If you want to render billions of polygons, without waiting for the geometry to load up, watching Arnold begin rendering instantly, you need this tool.
Watch it on action. We've just scratched the surface. Chapter 12 - Sampling and AOVs Don't know what an arbitrary output variable is? Well, let Arnold give you a master class in render passes with a few easy steps. Crank out.exr files or Photoshop layers for incredibly easy manipulation of stills in your favorite image manipulation program.
Tired of the noise in your render? We'll show you the best techniques to reduce the sampling while managing the render times. All in all, Arnold makes a fantastic companion to the already terrific built-in irradiance and raytrace renderer that's built into Cinema 4D.
We think that you're going to find them a winning combination. About the Instructor Born in Sitka, Alaska, Chris Tedin started his career as a painter and sculptor. He has been working as an illustrator, graphic designer, and most recently as an art director in Chicago, Illinois.
He has been teaching game design and animation for over 18 years. His students now work as animators and professional game designers at Blue Sky Studios, Digital Domain, Sony Imageworks, Microsoft, and as freelance independent artists. Many of his students are now college teachers themselves. Chris started in the early days with Strata StudioPro, then 3ds Max version 1.0, Maya 2.0, Softimage 3.8, Softimage XSI, Houdini and Cinema 4D. He has also been a beta tester for Solidangle's Arnold for many years since the early XSI days. Chris still sculpts and paints and he teaches full time at Tribeca/Flashpoint Academy in Chicago.
Availability: Video-on-demand streaming is available through the website to subscribers. In addition, video files are available for download for those who directly purchase individual titles from their cart.
Born in Sitka, Alaska, Chris started his career as a painter and sculptor. He has been working as an illustrator, graphic designer, and most recently as an college instructor in Chicago, Illinois.
He has been teaching game design and animation for over 20 years. His students now work as animators and professional game designers at Blue Sky Studios, Digital Domain, Aardman/Sony, Microsoft, and as freelance independent artists. Many of his students are now college teachers themselves.
He started in the early days with Strata StudioPro, then 3ds Max version 1.0, Maya 2.0, and Softimage 3.8. He currently uses Maya, 3ds Max, Houdini, Cinema 4D, Clarisse and Fusion. Chris still sculpts and paints and is the Academic Chair at Tribeca Flashpoint College in Chicago.