Cinema 4D Quick Tip: Creatively Using Dynamics for 2D Style Animation

dynamics

In this Cinema 4D quick tip I’ll go over how you can utilize Cinema 4D’s Dynamics & Cineware creatively to spice up your 2D animations by applying real world physics to them.  To get real world physics to be applied to your 2D animations, you either need to painstakingly keyframe it by hand or buy an expensive plug-in for After Effects, not to mention taking the time to learn it!  But for those of us that have Cinema 4D, you can use it as a “plug-in” and apply dynamics to your 2D style objects in Cinema 4D and easily bring them into After Effects via Cineware.  Check out the link below to see a free excerpt from my Lynda.com course on Mixing 2D and 3D with After Effects and CINEMA 4D.

Watch Tutorial

You can also view the rest of my Cinema 4D courses on Lynda.com here.

Stay up to date with the latest Cinema 4D tutorials by signing up to the Eyedesyn newsletter.

Using the Spline Shader to Create Text as a Material in Cinema 4D

Spline Shader

In this quick tip I’ll show you how to totally bypass Photoshop and create 2D text materials and apply to 3D objects as textures by using Cinema 4D’s Spline Shader.  Using the Spline Shader you can use text as simply as a 2D resolution independent material, or get creative and use is in the bump or displacement channels of a material to get some embossed or stamped metal looks. The Spline Shader also isn’t limited to just text, you can use any spline shape to create a texture!

Tutorial:

Stay up to date with the latest Cinema 4D tutorials by signing up to the Eyedesyn newsletter.

Cinema 4D Quick Tip: Using PSR Constraint Tag Targets

PSR Constraint

In this Cinema 4D quick tip I’ll go over a useful option when doing character animation, Constraint Tags.  Specifically, I’ll be demonstrating how to use the PSR Target option to be able to morph an object from one target to another.  For example, this can come in handy when you have a character picking up an object or placing it down, this option allows you to morph between the grasp of the character and the final placement of the object.  Check out the link below to see a free excerpt from my Lynda.com course on rigging a robot arm and find out more about using PSR Constraint Tag Targets.

Watch Tutorial

You can also view the rest of my Cinema 4D courses on Lynda.com here.

Stay up to date with the latest Cinema 4D tutorials by signing up to the Eyedesyn newsletter.

Cinema 4D Quick Tip: Freeze Transformation

freeze_trans

In this Cinema 4D quick tip I’ll go over an option that you see a ton but might not know what it does, Freeze Transformation.  Freeze Transformation is very useful when doing character animation as well as other workflows.  Check out the link below to see a free excerpt from my Lynda.com course on rigging a robot arm and find out more about the Freeze Transformation option.

Watch Tutorial

You can also view the rest of my Cinema 4D courses on Lynda.com here.

Stay up to date with the latest Cinema 4D tutorials by signing up to the Eyedesyn newsletter.

Using the Align to Spline Tag with Xpresso in Cinema 4D

Using the Align to Spline Tag w/ Xpresso

In this tutorial I’m going to cover some awesome time saving tips when using Cinema 4D’s ‘Align to Spline’ tag or splines in general. I’ll go over how to get objects to align & animate with the tips of an object created by a SweepNURB or a SplineWrap Deformer as one would when creating such things as a power cord with a plug, or a headphone cord with a headphone jack, or any abstract animation where you need an object to move perfectly with the movement/growth of the SweepNURB. I’ll demonstrate how this can be done by simply changing the way the intermediate spline points are interpolated. I’ll then show you a way to use a simple XPresso setup to have total control over the entire SweepNURB growth/object tip rig to animate by adjusting just one parameter.

In the second part of this tutorial, I’ll go over the same concepts only this time I’ll show you how you can use it with a SplineWrap deformer’s offset and use an example of how you can get a Light Object to align to the tip of a light streak so you can composite a lens flare or particles at the front tip of the light streak in After Effects. We’ll also do this by using an Align to Spline tag and a bit more complex Xpresso. Enjoy!

Tutorial:

Stay up to date with the latest Cinema 4D tutorials by signing
up to the Eyedesyn newsletter.

Cinema 4D Quick Tip: Using Mograph to Create a ‘Transparency Effector’

tut_template_horiz

In this Cinema 4D quick tip, I will be going over how you can use Mograph Effectors to change the transparency of objects.  I’ll demonstrate how you can use effectors to fade on or off MoText objects letter by letter.  You can also use this technique to affect transparency of any object that you can apply an effector to, like placing them inside a Cloner Object or Fracture Object.  I’ve made the project file available to download, showing how you can get it to work using a Fracture Object to apply the effectors.

Download C4D Project File

Check out my other quick tip going over how to get a 2D transparency effect on this animation here.

Stay up to date with the latest Cinema 4D tutorials by signing
up to the Eyedesyn newsletter.

FLOW | A Mograph & VFX Process Part 04: Building the Composite in Nuke

flowTitleScreen

FLOW explores a workflow experienced in a real life motion graphics & visual effects project.  Artist Craig Whitaker will guest host this series along with myself and we will discuss both the “how” of getting through a project as well as the often more important, “why”.  We will begin at the early stages of art direction, script review and initial client requests. As we move through the project, various software techniques and choices will be explained and demonstrated – with the focus being on why each step of the project was completed in a certain fashion. Topics will include but are not limited to: art direction, addressing client demands and changes, matchmoving, when to get out of 3D, and much, much more.

Please enjoy Part 4 where Craig will pick up where EJ left off in Part 3 by taking the particle flow animation created in Cinema 4D and bringing the renders into Nuke.  First, we will look at some of the initial look development.  Then we will dive into how we can use fresnel passes as RGB passes to drive color and glow in composite.  We’ll follow that up by discussing how you can build an art direct-able script and we’ll wrap it all up by showing how you can work with tools such as Vector Blur, iDistort, and much more inside of Nuke.

Stay tuned for Part 05 where Craig will cover how he composited animations made in After Effects onto curved 3D panels inside Nuke.

Watch Part 1: The FLOW Project Overview

Watch Part 2: Tracking in Nuke

Watch Part 3: Creating the Particle Flow in Cinema 4D

Part 4:

Stay up to date with the latest Cinema 4D tutorials by signing
up to the Eyedesyn newsletter.

FLOW | A Mograph & VFX Process Part 03: Creating the Data Flow in Cinema 4D

flowTitleScreen

FLOW explores a workflow experienced in a real life motion graphics & visual effects project.  Artist Craig Whitaker will guest host this series along with myself and we will discuss both the “how” of getting through a project as well as the often more important, “why”.  We will begin at the early stages of art direction, script review and initial client requests. As we move through the project, various software techniques and choices will be explained and demonstrated – with the focus being on why each step of the project was completed in a certain fashion. Topics will include but are not limited to: art direction, addressing client demands and changes, matchmoving, when to get out of 3D, and much, much more.

Please enjoy Part 3 where we will take a look at how I created the data flow in Cinema 4D using the 3D tracking data Craig created in Nuke in Part 2.  First, we’ll go over the importance of using reference images to help open visual conversation with the client on pinning down an approved concept.  Then, we’ll look at some of the R&D we went through to come to a polished data flow style.  Finally, we will go over how to handle client feedback that can force you to scrap your original concept and how to stay on track despite large scale client changes.

Stay tuned for Part 04 where Craig will cover how he composited my Cinema 4D render into the shots by using Nuke.

Watch Part 1: The FLOW Project Overview

Watch Part 2: Tracking in Nuke

Part 3:

Stay up to date with the latest Cinema 4D tutorials by signing
up to the Eyedesyn newsletter.

FLOW | A Mograph & VFX Process Part 02: Camera Tracking in Nuke

flowTitleScreen

FLOW explores a workflow experienced in a real life motion graphics & visual effects project.  Artist Craig Whitaker will guest host this series along with myself and we will discuss both the “how” of getting through a project as well as the often more important, “why”.  We will begin at the early stages of art direction, script review and initial client requests. As we move through the project, various software techniques and choices will be explained and demonstrated – with the focus being on why each step of the project was completed in a certain fashion. Topics will include but are not limited to: art direction, addressing client demands and changes, matchmoving, when to get out of 3D, and much, much more.

Please enjoy Part 2 where guest host Craig Whitaker Jr. will take a look at how to get a camera track inside of Nuke.  Then, he’ll uncover the problem spots you could run into and how to resolve them in order to refine the track.  Next, we’ll look at setting up cards in 3D space as well as exporting out a FBX camera for bringing in the camera data into Cinema 4D.  Finally, we will go over how you can place objects into the 3D scene space by utilizing the Point Cloud node.

Stay tuned for Part 03 where I will go over how to use the 3D tracking data Craig generated in Nuke in Part 02 & use it to create and place 3D elements using Cinema 4D for compositing into our footage.

Watch Part 1:  FLOW Project Overview

Watch Part 3:  Creating the Particle Flow in Cinema 4D

Part 2:

Stay up to date with the latest Cinema 4D tutorials by signing up to the Eyedesyn newsletter.

FLOW | A Mograph & VFX Process Part 01: Overview

flowTitleScreen

Today I am proud to announce a new multi-part series of videos called ‘FLOW’ that will showcase a Cinema 4D & Nuke workflow.  FLOW will explore that workflow experienced in a real life motion graphics & visual effects project.  Artist Craig Whitaker will guest host this series along with myself and we will discuss both the “how” of getting through a project as well as the often more important, “why”.  We will begin at the early stages of art direction, script review and initial client requests. As we move through the project, various software techniques and choices will be explained and demonstrated – with the focus being on why each step of the project was completed in a certain fashion. Topics will include but are not limited to: art direction, addressing client demands and changes, matchmoving, when to get out of 3D, and much, much more.

Please enjoy Part 1 where guest host Craig Whitaker Jr. will give a brief overview of the project we will be breaking down and more about what we want to accomplish in this FLOW series.  Stay tuned for more videos in this series!

Watch Part 2: Tracking in Nuke

Watch Part 3:  Creating the Particle Flow in Cinema 4D

Part 1:

Stay up to date with the latest Cinema 4D tutorials by signing

up to the Eyedesyn newsletter.