Cinema 4D BodyPaint 3D 9.5 serial key or number

1. Your Runtime is expired, and you will need to purchase a new license
2. You are only entering the Cinema 4D serial number without the Runtime key, or vice versa.
3. You're running into a bug with R20 that prevents it from overwriting the registration on MacOS.

• If you're running into 2, then you probably just need to copy/paste in your Runtime key along with your Cinema 4D serial number. Make sure that when you do this, you select everything from the registration email containing your serials starting at the word "Cinema" and ending after the angle brackets ( the > symbol) at the end of your Runtime key. This is two lines of text in total. Copy and paste these into the Registration window, and it should start working. If it still says it's expired after doing this, you're either running into 1 or 3.
• If you're running into 3, you can remove the MCA and MCN files that contain your registration info; this causes Cinema 4D to create a new set of registration data, thus forcing it to accept your new serial info.

CINEMA4D R13Quickstart

CINEMA4DRelease13QuickstartManual

The software described in this document is subject to a license agreement and may only be used in accordance with the

regulations thereof.

Programming Christian Losch, Philip Losch, Richard Kurz, Aleksander Stompel, Tilo Kühn,

Per-Anders Edwards, Sven Behne, Wilfried Behne, Thomas Kunert, David O’Reilly,

Paul Everett, Cathleen Bastian, Ole Kniemeyer, Kent Barber, Jens Uhlig, Frank Willeke,

Sebastian Rath

Plugin programming Michael Breitzke, Kiril Dinev, David Farmer, Jamie Halmick, Reinhard Hintzenstern,

Jan Eric Hoffmann, Eduardo Olivares, Nina Ivanova, Markus Jakubietz, Eric Sommerlade,

Hendrik Steffen, Jens Uhlig, Michael Zeier, Matthias Bober, Markus Spranger,

Michael Kloß, Ralph Reichl, Timm Dapper, Paul Everett, G.E.M. Team Solutions,

Michael Welter, Eberhard Michaelis

Product management Bernd Lutz, Oliver Meiseberg, Marco Tillmann

Quickstart authors Glenn Frey, Sven Hauth, Heiner Stiller

Layout Aron Schmid

Copyright © 1989 - 2011 by MAXON Computer GmbH all rights reserved.

This manual and the accompanying software are copyright protected. No part of this document may be translated, reproduced,

stored in a retrieval system or transmitted in any form or by any means, electronic or mechanical, for any purpose, without the

express written permission of MAXON Computer. Although every precaution has been taken in the preparation of the program and

this manual, MAXON Computer assumes no responsibility for errors or omissions. Neither is any liability assumed for damages

resulting from the use of the program or from the information contained in this manual. This manual, as well as the software

described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. The

content of this manual is furnished for informational use only, is subject to change without notice, and should not be construed as

a commitment by MAXON Computer. MAXON Computer assumes no responsibility or liability for any errors or inaccuracies that

may appear in this book.

The trademarks [MAXON] (DE 1 139 896, CTM 4639191, IR 950 459; registered in the European Union, the Russian Federation

and Australia), [CINEMA4D] (DE 2 068 891, CTM 4959698, IR 664 160, JP 4 385 968, KR 40-2008-0033230; registered in

the European Union, Switzerland, the Russian Federation, USA, Japan, South Korea and China), [MAXON FORM] (CTM 4518569;

registered in the European Union) and [MOGRAPH] (CTM 4926771; registered in the European Union) are registered trademarks

of MAXON Computer GmbH. In addition, trademark rights can exist for MAXON Computer GmbH or MAXON Computer Inc. in

various territories for the aforementioned or other trademarks, e.g. BodyPaint 3D, RayBrush, C.O.F.F.E.E. or HyperNURBS.

Acrobat, the Acrobat logo, PostScript, Acrobat Reader, Photoshop, Flash and Director and Illustrator are trademarks of Adobe

Systems Incorporated registered in the U.S. and other countries. Apple, AppleScript, AppleTalk, ColorSync, Mac OS, QuickTime,

Macintosh and TrueType are trademarks of Apple Computer, Inc. registered in the U.S. and other countries. QuickTime and the

QuickTime logo are trademarks used under license. Microsoft, Windows, and Windows NT are either registered trademarks or

trademarks of Microsoft Corporation in the U.S. and/or other countries. UNIX is a registered trademark only licensed to X/Open

Company Ltd. All other brand and product names mentioned in this manual are trademarks or registered trademarks of their

respective companies, and are hereby acknowledged. HDRI material preview: Creative Market.

Bullet Time is a registered trademark from Warner Bros. Entertainment, Inc.

The information in this document are subject to change without notice.

I

II CINEMA4D R13Quickstart

Contents

Preface __________________________________________________________________________________________________________________________________________________ IV

Welcome to CINEMA4D R13 ____________________________________________________________________________________________________ 2

1 . Introduction ______________________________________________________________________________________________________________________________________ 2

2. General Information / Interface ____________________________________________________________________________________________________ 4

3. Sample Images _________________________________________________________________________________________________________________________________ 7

4. Quick Tutorial – Materials _______________________________________________________________________________________________________________ 11

5. Quick Tutorial – Lighting _______________________________________________________________________________________________________________ 18

6. Tips & Tricks ___________________________________________________________________________________________________________________________________ 26

BodyPaint 3D ___________________________________________________________________________________________________________________________________ 28

1 . Introduction ___________________________________________________________________________________________________________________________________ 28

2. General Information / Interface _________________________________________________________________________________________________ 29

3. Sample Images ______________________________________________________________________________________________________________________________ 31

4. Quick Tutorial – First Painting Lesson ______________________________________________________________________________________ 33

5. Tips & Tricks ___________________________________________________________________________________________________________________________________ 38

CINEMA4D Renderer ________________________________________________________________________________________________________________ 40

1 . General Information / Interface _________________________________________________________________________________________________ 40

2. Quick Tutorial – Rendering __________________________________________________________________________________________________________ 42

3. Sample Images ______________________________________________________________________________________________________________________________ 47

4. Quick Tutorial – Global Illumination __________________________________________________________________________________________ 49

5. Tips & Tricks ___________________________________________________________________________________________________________________________________ 52

6. ProjectionMan _______________________________________________________________________________________________________________________________ 53

Sketch and Toon ___________________________________________________________________________________________________________________________ 60

1 . Introduction ___________________________________________________________________________________________________________________________________ 60

2. General Information / Interface _________________________________________________________________________________________________ 6 1

3. Sample Images ______________________________________________________________________________________________________________________________ 63

4. Quick Tutorial – Shaders and Tags ____________________________________________________________________________________________ 65

5. Tips & Tricks ___________________________________________________________________________________________________________________________________ 69

Character Tools ________________________________________________________________________________________________________________________________ 71

1 . Introduction ____________________________________________________________________________________________________________________________________ 71

2. General Information ______________________________________________________________________________________________________________________ 73

3. Working with the Auto Rigger and CMotion ______________________________________________________________________________ 75

4. Quick Tutorial – Pose Morph _______________________________________________________________________________________________________ 83

5. Tips and Tricks _______________________________________________________________________________________________________________________________ 86

6. Quick Tutorial – Cloth ___________________________________________________________________________________________________________________ 88

CINEMA4D R13Quickstart

HAIR _________________________________________________________________________________________________________________________________________________________ 94

1 . Introduction ___________________________________________________________________________________________________________________________________ 94

2. General Information / Interface _________________________________________________________________________________________________ 95

3. Sample Images ______________________________________________________________________________________________________________________________ 97

4. Quick Tutorial – Fur _______________________________________________________________________________________________________________________ 98

5. Tips & Tricks ___________________________________________________________________________________________________________________________________ 110

MoGraph ________________________________________________________________________________________________________________________________________________ 111

1 . Introduction ____________________________________________________________________________________________________________________________________ 111

2. General Information / Interface ________________________________________________________________________________________________ 112

3. Sample Images _____________________________________________________________________________________________________________________________ 115

4. Target Effector _____________________________________________________________________________________________________________________________ 116

5. Quickstart Tutorial: MoDynamics _____________________________________________________________________________________________ 121

6. Tips & Tricks __________________________________________________________________________________________________________________________________ 122

Dynamics ___________________________________________________________________________________________________________________________________________ 124

III

IV CINEMA4D R13Quickstart

Preface

MAXON always strives to make the learning process for new CINEMA4D and BodyPaint 3D users as easy as

possible. This includes not only the interface and workflow but also the accompanying documentation. To

best serve the needs of our users we have divided the MAXON documentation into four categories, which are

designed for users ranging from absolute beginners through to professional user levels:

1. Quickstart Videos

• Level: 3D newbies who want to get to know CINEMA4D and BodyPaint 3D

• Topics: Navigation and interface, movement, scaling and rotation, creating objects, modifying

objects and materials, animation, lighting and rendering

• Location: http://www.maxon.net/downloads.html

2. QuickstartManual

• Level: Novice users with basic CINEMA4D or BodyPaint 3D skills

• Topics: see Quickstart manual’s table of contents

• Location: Quickstart manual

3. Context-Sensitive Help System Tutorials

• Level: Users with solid CINEMA4D or BodyPaint 3D basic skills who want to advance their overall

level of expertise in specific areas

• Topics: Mechanical modeling, character modeling, materials, lighting and shading, camera and

render settings, MoGraph, XPresso, animation, After Effects

• Location: Main menu: Help.

4. Reference Documentation

• Level: All CINEMA4D users from beginner to professional.

• Topics: All aspects of CINEMA4D and BodyPaint 3D are explained

• Location: Can be accessed via the application’s main menu: Help / Show Help... (documentation must

be installed: either automatically via Online Updater or manually as online download).

http://www.maxon.net/downloads/updates-co/documentation.html

Note:

As a result of continued product development, differences between the current and printed documentation

with regard to referenced files can occur. The most current versions can be found on the product DVD

included in your order, or can be downloaded from the MAXON website or via the Online Updater.

CINEMA4D R13Quickstart – Sample Images

© Pavel Kaplun - www.kaplun.de

1

2 CINEMA4D R13Quickstart

Welcome to CINEMA4D R13

After you have worked through this tutorial you will have a good basic user knowledge which you can apply to

future projects. In this Quickstart manual you will be asked to open certain files for demonstration purposes.

These can be found on your Goodies DVD or on the MAXON homepage on the download / documentation page.

© www.station-nullzwei.de

1. Introduction

To make working with this Quickstart easier, instructional text and tips have been underlain with color for

easy recognition.

Instructional text is highlighted in blue.

If you make an error in working through one of the tutorials, these colors will make it easier to locate

instructional text and tips when trying to find the location at which you may have made the error.

CINEMA4D R13Quickstart – Interface

No matter if you’re just checking CINEMA4D out or if you already own your own copy of CINEMA4D, you

already know about the incredible things CINEMA4D can do. We have been working very closely with our

customers for several years now in order to satisfy their needs and wishes. This has lead to the creation and

introduction of new functionality, according to their needs. These ideas and concepts are then creatively

implemented to satisfy the needs of our customers and those of the 3D markets.

No matter if you work in the field of print, advertising, design, visualization or film, CINEMA4D gives

you all the tools you need to make your ideas reality. The intuitive interface and the ease with which

CINEMA4D can be learned makes entering the versatile world for 3D a snap. CINEMA4D places a link

between your job or hobby, and your creativity in the palm of your hand. You can create what your

fantasy demands. CINEMA4D will be your dependable partner.

3

4 CINEMA4D R13Quickstart – Interface

2. General Information / Interface

CINEMA4DRelease13 offers many new functions that will again speed up and improve your workflow.

Let’s start with the most important step - starting CINEMA4D. After starting CINEMA4D you will see an image

similar to the following screenshot:

Icon Palette

(modes)

Viewport

(perspective view)

Rendered Viewport

Icon Palette (tools)

Material Manager

Coordinates Manager

Object Manager

Attribute Manager

CINEMA4D R13Quickstart – Interface

Clicking on the light blue Cube icon opens the parametric object group selection window, which contains all

of CINEMA4D’s available parameteric objects. It contains all of CINEMA4D’s available predefined parametric

objects.

Click on the second icon to create a cube. Click and hold to see all available parametric objects. Note: After

an object has been initially created it is a parametric object. An object can only be modified as a whole and

not its individual surfaces (an exception are special deformers from the Deformer menu). Before you begin

modeling, the parametric object must be converted to a polygonal object. To do so, select the object you want

to convert and run the Make Editable command by pressing the c-key on your keyboard. You can now move or

modify individual points and surfaces.

Two icons to the right of the Cube Primitive symbol (black cage with white points and turquoise inner) are the

NURBS objects. The most important of these is the HyperNURBS object.

If a polygon object is a sub-object of a HyperNURBS object it will be virtually subdivided to a higher

degree. Visually it will be comprised of many more smaller polygons than before the subdivision (the object

automatically looks softer / rounder). As you can see in the next screen shot: The outer mesh (light blue)

shows the polygon cube’s actual subdivision.

The finer inner mesh (blue) shows the subdivision of the HyperNURBS object. Change the cube‘s display mode

by selecting (deactivating) Options / Isoline Editing in the Viewport’s menu and switching to Gouraud Shading

(Lines) in the Editor’s Display menu. In the end it’s up to you how you want your objects displayed in the same

menu. Then switch to the Use Polygon Mode in the left Icon Palette. However, for this tutorial, this is the most

effective way to show the effect HyperNURBS objects have on polygonal objects or primitives since it shows

how the cube is subdivided and the final result is therefore also easier to visualize.

5

6 CINEMA4D R13Quickstart – Interface

The advantages, especially in modeling, are obvious. Since the object contains few points (edges / polygons)

that can be edited it remains very manageable. You can drag just one point of the original wire frame and the

HyperNURBS mesh, with its finer subdivision, will follow the point being dragged (The image below shows the

same Cube object - one with HyperNURBS and one without).

If the polygon object were made up of such fine subdivision modeling, it would be much more complicated.

You would pull one point and only one point would be moved. All other surrounding points would retain their

position. You would have to move each one individually in order to achieve the desired shape.

CINEMA4D R13Quickstart – Sample Images

3. Sample Images

© Raphael Rau - silverwing-vfx.de © www.kingcoma.com

© www.bediff.com

7

8 CINEMA4D R13Quickstart – Sample Images

© tectonic - www.tma-1.co.za

© www.bediff.com

CINEMA4D R13Quickstart – Interface

We will continue with navigation in CINEMA4D.

The first symbol (click – hold – move mouse) moves the view. The second symbol (foreshortened double

arrow) lets you dolly in and out and the third (curved arrows with a dot in the center) lets you rotate the

scene. Selecting the little rectangle to the right will divide the entire view panel into four views, giving you

multiple viewports to use. Each of the four views has its own little rectangle which, when clicked, enlarges the

respective window. Create a new scene (main menu: File / New) and subsequently a new Cube in that scene.

Zoom out a little and select the word Cube in the Object Manager. The cube’s axis will be visible in the editor

window.

Each of the axis‘ arrows can be selected and dragged in its corresponding direction. This prevents the object

from being dragged in the wrong direction in the editor view. It is often impossible to see in which direction

an object is being dragged in a 3D view. A similar method of moving an object in a single direction is to lock a

specific axis in the command palette. This prevents an object from being moved in the direction of an axis that

has been locked unless you click and drag one of the object’s own axis arrows. These objects are not locked.

Select the Cube object and then click on the Scale function at top.

The ends of the axis‘ arrows have changed from arrows to boxes. Dragging these boxes will scale the object

along that particular axis. Parametric objects (not converted polygon objects) will display little orange handles.

Important: If you are in Edit Point Mode or Edit Polygon Mode, only the selected points

or polygons will be scaled. In addition, we can no longer see the little orange handles as

a result of having made the cube editable.

They make it possible to stretch and squash the parametric object on the corresponding axis. The final icon in

this group activates the rotation mode. A series of rings will appear around your object - clicking and dragging

one of these rings will allow you to rotate the object in the respective direction (heading, pitch or bank).

9

10 CINEMA4D R13Quickstart – Sample Images

© www.station-nullzwei.de

CINEMA4D R13Quickstart – Materials

4. Quick Tutorial – Materials

A well-modeled object can make a mediocre impression if the right textures aren’t used. Textures give a model

color, highlights, structure and other important surface properties. A texture placed into the Bump channel,

for example, gives the object’s surface an uneven, bumpy look without actually altering the geometric

structure. This effect can be used to imitate skin wrinkles, scars or the surface of an orange. The displacement

channel works in a similar fashion, only that it actually does change an object’s geometric structure. Using

the Luminance channel you can give an object’s surface a self-illuminating property or integrate a subsurface

scattering effect (sub-surface scattering) which lends the surface a slight translucent / reflective look, like

human skin or candle wax, for example. In short: Textures have the same significance as the outer shape of

an object because they are necessary for achieving the desired atmosphere, coloring and surface structure.

We will begin with a brief introduction to the individual material channels:

Color: This is where the material’s color or the base color for the texture is set.

Diffusion: This channel makes your texture irregular. Through the application of a shader or a texture

your object receives a dirty or dusty look. If desired it can also influence the Specular, Reflection and

Luminance channels respectively.

Luminance: The material is given an illuminative property which is also taken into account in the

Global Illumination calculation.

Transparency: This is where you determine the material’s transparency.

Reflection: Gives the material reflective characteristics.

Environment: A texture is used to simulate an environment reflection.

Fog: This channel lets you apply a fog property to a material.

Bump: Uses an optical trick to translate light and dark elements of a texture or a shader to simulate

the height and depth of an uneven surface. Scars, wrinkles or scratches can be simulated using this

channel.

Normal: This channel is meant for use with normal textures. Normals give a low-res polygon object

a hi-res look when RGB textures containing the required properties are applied. This lets a hi-res

polygon object be replaced by a low-res object, thus saving a lot of render time and offering the same

visual result.

Alpha: A texture’s transparency is determined by a material’s light and dark areas. Black equals a

transparency of 100% and white makes it opaque.

Specular: This determines a material’s specular properties.

Specular Color: This determines the color of the material’s specularity and can be influenced by

a texture.

Glow: Gives the object a self-emitting glow.

Displacement: Deforms an object using light and dark values (calculates differences in height). Do not

confuse this with the Bump channel which only imitates an uneven surface.

11

12 CINEMA4D R13Quickstart – Materials

We will now create our own material. Open the QS_Material.c4d file. You can see in the Object Manager to the

right that the object does not yet have a texture applied to it. Click on CREATE / NEW MATERIAL in the Material

Manager at the lower left.

A standard material has been created. If you click on this material its properties will be made visible in the

Attribute Manager to the right. In the Basic tab you can determine which channels should be activated for this

material. Go ahead and activate the Bump channel. As soon as you have done that a new tab will appear in the

Attribute Manager for the Bump channel. Now click on the Color tab and load a texture into the material by

clicking on the small arrow next to Texture. Choose Load Image and load Iristexture.jpg.

In the mini-preview of the Material Manager at the lower left of your screen you will see the texture displayed

as soon as it has been loaded. This gives you a good overview of the materials being used in the scene.

Repeat this procedure for the Bump channel and load Iristexture_bump.jpg into the channel. This JPEG

contains the grayscale version of the iris texture which we need to create a relief effect for the surface. You

can also choose Filter (click on the small light gray arrow next to the word Texture in the Bump channel) and

load the color texture here and set its saturation to -100%. This saves you from having to load a second image.

The bright areas of the image will later appear to be raised on the object and the dark areas of the image will

appear to be somewhat indented.

A true deformation of the object will only take place in the Displacement channel. The Bump channel does not

alter the polygon’s surface but uses an optical illusion to give the surface its structure.

CINEMA4D R13Quickstart – Materials

Click on the material in the Material Manager with the left mouse button and drag it onto the Eyeball object in

the Object Manager (when you drag the material over the object you can let go once the arrow points down).

Alternatively you can drag the material onto the desired object (the eyeball) directly in the Editor. Just make

sure you drop the material onto the correct object if there are several in the scene or in close proximity to one

another. You can check in the Object Manager to make sure the material was dropped onto the correct object

- the material icon will appear next to the object onto which it was dragged.

You have probably noticed that the eyeball brightened somewhat after you applied the material but you aren’t

able to see the actual texture. We still have to change the offset properties and the mapping size so the

texture will be aligned properly on our object. At the moment the actual image of the iris is lying distorted on

the right side of the eyeball. You can check this by making both HyperNURBS eyelid objects invisible for the

editor. To do this double-click on the top small gray dot to the right of the object in the Object Manager (until

it turns red).

Double-click on the dot again and it will turn green, which makes the objects visible again independent of the

visibility settings of any parent object. The dot directly below has the same function except that it affects the

rendering.

Once you have made the eyelids invisible and have rotated the view a little the eyeball should look as follows:

Switch the visibility of the HyperNURBS objects back by clicking again on the dots next to the object in the

Object Manager, making them gray. Click on the Texture tag at the right of the Object Manager next to the

object. It’s the material that we applied to the eyeball. You can recognize it in the mini preview of the texture

in the Object Manager.

13

14 CINEMA4D R13Quickstart – Materials

Once you have selected it you will see its parameters in the Attribute Manager. Adopt the settings you see in

the next screenshot:

We have just aligned the texture on the eyeball mesh by changing the Length U and Length V parameters. The

offset setting put the texture in the correct position. If you rotate your view again you will see that the iris

texture is positioned correctly.

Tip: If you want to undo an accidental change to the view just press Ctrl+Shift+Z (Mac:

Cmd+Shift+Z). This function is useful if you have inadvertently rotated the perspective

view instead of the editor view. You can also select view/undo view in the main menu of

the editor view. The texture will complete our model. Experiment with the parameters of

the individual channels to find out how they affect the material. At this point we would

like to offer you a few additional tips.

CINEMA4D R13Quickstart – Materials

If you own CINEMA4D Visualize or CINEMA4D Studio, you can render human skin realistically using Subsurface

Scattering. By placing this shader in the Luminance channel (click on the small arrow next to Texture and

select Subsurface Scattering from the Effects menu) the effect is created when rays of light meet a slightly

transparent object. Some rays infiltrate the object further and are dispersed, others are directly absorbed or

bounce off.

Further possible uses for this effect would be for materials such as plastic, milk, candle wax or figurines

made of jade. You can load black & white textures into the alpha channel to influence the material based on

the texture’s brightness, similar to the way you would use them for the bump or displacement channels. The

texture’s black areas would be rendered with a transparency of 100%. As the texture becomes brighter the

transparency is reduced accordingly. White would have a transparency of 0%

If you choose Shader instead of New Material under Create in the Material Manager you will see a list of 3D

shader presets. The advantage of these shaders is that you don’t have to worry about mapping your texture

or seams in your texture because a 3D shader will be calculated for the 3D space. Here are a couple described

in detail:

Cheen: Generates an electron microscope effect good for the depiction of bacteria or mites.

15

16 CINEMA4D R13Quickstart – Materials

Danel: Very good for simulating high-gloss finish.

Banzi: Lets you depict various types of wood.

CINEMA4D R13Quickstart – Materials

Banji: Calculates complex lighting situations with glass and even makes rear-projection (shadow casting) on

partially transparent materials such as rice- or canvas paper possible.

© christoph mensak, brown_eye_architects@gmx.de

17

18 CINEMA4D R13Quickstart – Lighting

© Christoph Mensak - brown_eye_architects@gmx.de

5. Quick Tutorial – Lighting

If you are already familiar with lighting a scene in the real world then you will feel right at home with the

CINEMA4D light objects. They can do everything real lights can do – and quite a bit more. In this tutorial we

will set up a 3-point lighting arrangement. This type of arrangement is used often in portrait photography to

achieve an even lighting and is an excellent method for lighting an object quickly and professionally in the 3D

world.

Open the file QS_Light.c4d and adjust your editor view so the entire figure is visible to you.

We want to light up our little character. Create a floor object (Create / Environment / Floor) and position it so

the figure is standing on it.

CINEMA4D R13Quickstart – Lighting

A 3-point lighting arrangement begins with setting a key light. As the name suggests, this light emits the main

lighting for the scene and will cast the main shadows. Create a light object (Create / Light / Light). Name it

Main Light (double-click on the name) in the Object Manager.

CINEMA4D has several different types of light sources. The Omni light will always be created by default. An

Omni light emits from its center in all directions. For our key light we will need a spot light which we can aim

directly at the object.

To make the key light a spot simply go to the Attribute Manager and switch the light from Omni to Spot.

19

20 CINEMA4D R13Quickstart – Lighting

Now our light source has been transformed to a spot. A spot acts like a flashlight. CINEMA4D offers spots

with square and round cones of light. This cone is visible in the editor and can be manipulated. Now we will

aim the spot at our figure.

Position the light at the following coordinates in the Attribute Manager:

X= 300

Y= 580

Z= -300

at an angle of

H= 45

P= -45

degrees (enter the values and click on the Apply button).

Render the scene (Cmd / Ctrl + r).

The light now falls at an angle onto our object (If this is not visible in the Editor it may be due to the fact that

your display mode is set to Quick Shading (uses a single default light source) instead of Gouraud Shading (uses

all scene lights)). Of course the exact position of the light is strongly dependent upon the camera’s angle.

Unfortunately the light is not casting a shadow, letting the figure look like it’s floating. CINEMA4D’s lights

have an advantage over real light in that you can choose which kind of shadow, if any, they should cast - a plus

for any studio photographer.

In the General menu of the Attribute Manager, set the light’s shadow to Shadow Maps (Soft). We don’t want

the shadow to be completely black so we’ll make it a little transparent.

In the Shadow menu, set the shadow density to 50%. Select 1000 x 1000 as the shadow map. Render the

scene.

CINEMA4D R13Quickstart – Lighting

CINEMA4D offers three types of shadows: Raytraced (Hard) – a shadow with sharp edges, Shadow Maps (Soft)

– a shadow with soft edges and Area – a shadow that becomes softer the further it’s away from the object,

resulting in the most realistic shadow effect. Try the other two shadow types. Careful, the area shadow can

take a long time to render! The larger shadow map allows the shadow to be rendered more accurately.

The light’s cone is a little too small. We will change this as follows: Switch to the details menu in the Attribute

Manager and set the Inner Angle to 30 degrees and the Outer Angle to 100 degrees.

You will see the result in the editor right away. You can also edit the light’s cone by dragging the orange

handles. If your graphics card will support it you can set the editor’s display mode to Enhanced OpenGL with

activated shadows. (Viewport: OPTIONS / ENHANCED OPENGL) Generally speaking, OpenGL offers a much

more precise depiction of your scene and gives you an impression of how the shadows will fall).

21

22 CINEMA4D R13Quickstart – Lighting

Now we’re happy with our key light. Next we will create a more even lighting by brightening our figure a little

from the other side.

Create another light source in the scene and name it Brightener. Place it at the following coordinates:

X= -360

Y= 225

Z= -230

Select Area as the type of light.

Since the brightness of the lights in the scene is additive, we must dim the brightener a little.

Reduce the Intensity in the General menu to 40%.

This area light illuminates the figure from a different angle and softens the contrast somewhat. It won’t cast a

shadow since this would cause crossing of the shadows and make the object look bad.

CINEMA4D R13Quickstart – Lighting

The scene is now pretty evenly lit, but we want to give it a little more pep. Create another light source, name it

Color and, in the Attribute Manager, set its type to Infinite. Set its color to turquoise and set its H angle to -160.

The position of an infinite light is irrelevant since it always lights your scene in the direction of the Z axis. This

is why we will leave it at the point at which it was created. It gives our Amphibian an interesting color edge and

sets him off of the background a little.

Your scene’s mood can be changed by simply changing the color of some of the lights used.

That completes our classic 3-point lighting arrangement. Now the real work starts. If the scene has a

background, which is often the case, it will have to be lit as well. With the proper use of omni lights details in

the scene can be brought to light very nicely. But don’t overdo it. With good lighting, less is often more. Only

add lights when necessary and if the scene can actually benefit from them. Two more tips before we end: If you

have several lights in a scene and are not sure which light is lighting what, simply turn off (green check mark)

all other lights in the Object Manager. The light which remains will be the only one visible.

One trick you can use while aiming lights is to view the scene from the perspective of the light. Select the

desired light in the Object Manager and activate Set Active Object as Camera in the editor view’s Cameras

menu. Selecting this option lets you view the scene from the point of view of an active object, in our case the

light. Moving the editor view will automatically change the position of the light when in this mode. This way you

can see how the change of position of the light affects the lighting of the object in real-time (Gouraud Shading

must be active in the editor view). Once you have reached the desired angle and position you can return to the

editor view by selecting Use Camera / Default Camera from the Cameras menu.

23

24 CINEMA4D R13Quickstart – Sample Images

© Dave Davidson - www.max3d.org

CINEMA4D R13Quickstart – Sample Images

© Benedict Campbell, www.benedict1.com

25

26 CINEMA4D R13Quickstart – Lighting

6. Tips & Tricks

© Raphael Rau - silverwing-vfx.de

CINEMA4D has been able to build a large community of users around it who are more than happy to help

newcomers in any way possible, be it through the use of home-made tutorials, directly in one of the many

forums or by offering free models, plugins, expressions or textures.

One of the main sources of information, of course, is the MAXON web site www.MAXON.net.

Here you will find news, interesting projects that were done with CINEMA4D, an extensive CINEMA4D link

library and even a form for questions for our support department.

Flipping through books which don’t have anything to do with computer graphics can also be helpful. 3D is

a complex field in which many of the classic arts and techniques are combined. Books about photography,

lighting, direction, acting, image creation and painting should be part of every serious 3D artist’s library. In

addition, you will find a wealth of information on all of these topics online.

Since the Internet is always changing, doing a search for CINEMA4D in various search engines would be a

good idea.

The Internet is a good source for finding models. Through its special image search function you can find

photos or drawings of practically any object.

CINEMA4D R13Quickstart – Lighting

Even mail order catalogs can be a great source of information on how an object is supposed to look.

Textures are all over the Internet as well. Note that almost all image are copyright protected and cannot be

used commercially. Taking your camera and photographing textures yourself is even better. Inspiration is

everywhere. You can build your own texture archives in no time.

Try to get away from the technical point of view. Learning a software is only a matter of time. A good 3D artist

has the ability to use software as a tool that helps him realize his ideas. The real creativity lies with the idea,

not the software. So when you create your next scene don’t worry so much about creating the perfect object.

Concentrate rather on how you can make a harmonious composition with this object with a fitting theme

and proper lighting. Also, think about the message you are trying to send to the viewer. The same goes for

animators. A technically perfect animation is a great achievement but it will put your audience to sleep if the

concept is bad. It’s not so bad, on the other hand, if your animation is a little bumpy and imperfect but your

story touches the viewer.

We hope this manual will help you master the technical part of 3D graphics. What you do with what you’ve

learned is in your hands.

© Jonathan Reeves - www.jr-architecture.co.uk

27

28 CINEMA4D R13Quickstart – BodyPaint 3D

BodyPaint 3D

This is the BodyPaint 3D tutorial. In this tutorial we will explain the most important functions in order to

give you a running start in the world of 3D painting. Even if BodyPaint 3D appears to be difficult at first, you

will soon notice how intuitive BodyPaint 3D really is. In this tutorial we have also put an emphasis on a fast

learning curve and a high degree of user friendliness for this application. Let’s start with its structure.

© www.segnoprogetto.it

1. Introduction

BodyPaint 3D will revolutionize the way you work with textures in such a way you will wonder how you ever

got along without it! With BodyPaint 3D you can paint your models as they are: in 3D. This is what BodyPaint

3D, the revolutionary way to texture objects, is all about. In addition, BodyPaint 3D lets you paint in several

texture channels at once, and thanks to RayBrush even directly on the rendered image itself. Projection

Painting is a tool we have integrated that makes it possible to paint on complex objects without distortion.

Using the UV-tools you can relax and stretch your UV-mesh, no matter how complex it is. Put simply, a UVmesh

is a second impression of a polygon mesh that projects the texture onto a polygon object. The days of

2D texturing are over and you can finally concentrate on what’s important in texturing: creativity. Everything

that took up so much time with 2D texturing is now done by BodyPaint 3D and you can deliver your projects

faster. Let’s move to the user interface (BodyPaint 3D is a component of CINEMA4D and can be activated by

simply selecting BodyPaint 3D from the CINEMA4D Layout menu at the top right of the GUI).

CINEMA4D R13Quickstart – BodyPaint 3D

2. General Information / Interface

First take a look at the screenshot below:

6. Icon Palette

(modes)

5. Object Manager

and color settings

1. Rendered Viewport

4. Attribute Manager Window

2. Texture Window

(UV Mesh Editor Window)

3. UV Manager

Here you see one of the two standard layouts: BP UV Edit. The second layout (BP 3D Paint) is set up in a similar

fashion, only without the UV-mesh editor window which gives you more room in the editor window to paint.

29

30 CINEMA4D R13Quickstart – BodyPaint 3D

1. Viewport

Here you can see the object you will be painting. You can rotate, move and zoom the window as needed. The

RayBrush mode lets you paint directly onto the object in the rendered version of the view. This gives you

control over the amount of color applied and can see right away how a new color looks on the object.

2. Texture Window (UV Mesh Editor Window)

This is where you edit your UV-mesh. You can relax and restore your UV-mesh. If you use the UV-Manager’s

UV-tools you can watch how the texture relaxes. You can also watch the color application process in this

window, which will then be visible in the editor window right away.

3. UV Manager

The UV-Manager lets you restore the UV-mesh using an algorithm. It recognizes layered polygons and attempts

to relax the UV-mesh for optimal placement over the entire surface and, if necessary, new placement. All

remaining relaxation can be adjusted manually.

4. Attribute Manager Window

Different tabs display different brush types and their respective attributes as well as the UV Manager’s UV

tools.

5. Object Manager, Material Manager and color settings

The Object Manager, Material Manager and Color Manager are tabbed in the lower left corner of the interface.

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SIGGRAPH 2007 Show Reports

SIG: Allegorithmic unveils new procedural texture middlware, ProFX 2.6 - [17 Aug]

SIG: Luxology announces Luxology TV - 3D training is AppleTV ready - [13 Aug]

SIG: SIGGRAPH 2007 News Highlights - [7 Aug]

Mac 3D: Architosh covering SIGGRAPH 2007 - Focus on Mac 3D Technologies - [7 Aug]

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