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cmiVFX has released their THIRD video of the C4D EVERYTHING series. Welcome to the final volume of the "C4D EVERYTHING" series. Pavel Zoch herein offers even more methods of modeling and then proceeds deep into UV mesh editing. Then with the help of Arroway Textures he textures, lights and renders the final product. While the hero of this series is a delightful Early Rider wooden child's bicycle, this is not the point of the teaching here. The overriding thrust of this series is to take an abject beginner in 3d all the way to production quality readiness within Maxon Cinema 4D. Volume three covers the most common modeling pipeline in production. Box modeling and point-to-point modeling are a staple of studios around the world. BUT WAIT, THERE'S MORE! The modeling portions of volume 2 and 3 have a running theme, "Model with UV's in mind". Whatever modeling technique is taught, each is tweaked to be optimal for the eventuality of UV mesh creation. The larger portion of this lesson aims at UV mesh editing. No matter how good a modeler you are, if you cannot manipulate the UV's correctly then your texture maps will never look as good as they could. This is NOT a primer on UV's, but rather a full, deep course. The hero provides the opportunity to teach the solutions to the majority of UV tribulations. The instruction offered in this single volume will enable the viewer to handle the majority of production tasks.
Find out how important the upcoming information is in regards to finalizing all of your models.
This chapter demonstrates two modeling techniques: box modeling and point-to-point / polygon-to-polygon modeling. Both methods are demonstrated on the chapter and the box modeling way is used for the leather seat object. We will start with the simplest object we have. With the Polygon (parametric) object. We will convert the object, adjust the subdivision and apply a deformer that will generate the 3D shape of the main object.
We will model all details, seams between all leather parts. We will prepare all fine details of the object and use an other one object for the complex object adjusting. CINEMA 4D offers us many ways how to adjust many complex shapes and the Mesh deformer is one of them. The very simple object can control other very complex object.
Sometimes can be really very effective to use animation features for modeling, because they can mix many modeling shapes together and adjust the object without destructive changes. It´s really very important. The Pose Morph tag is one of them.
The Point to point/polygon to polygon modeling way can be used for a pretty complex objects as well. We will use the way for the front fork modeling. We will use the border - edges for the extrusion and prepare a thickness of the object and we can delete the first N-Gon.
The handlebar object has really very similar construction as the front fork, but we will use abs. different way how to do it. We will use the spline and an Extrude NURBS for the main object and standard modeling tools and commands for the thickness and so on...
The first will be the pretty important detail on the handle bar - a space for the bolt-head and we will use the well know way for that - spline projection and movement/snapping for the model points placing. The second topic of the chapter is the grip and it´s really nice example of the box modeling. We can use for the fine touching the Morph tag again and prepare really last objects that still left.
The UV mesh topic is on the edge. Between modeling and texturing and painting. But it´s a bit closer to the modeling, because we will still use the same selection tools, conversions, movement, scaling, rotations and so on. In case we understand to the modeling, we will understand to the UV mesh very fast.
CINEMA 4D has a special layout for the UV mesh editing named BodyPaint 3D UV layout. The layout is a bit different, the main menu of the application different (we can change it of course), there are different tools, views, modes. The chapter demonstrates all main parts of the layout and demonstrate the UV mesh preparing on the very simple object - the handle/grip of the bike.
The second part of the chapter shows all main tools and techniques of the UV mesh editing and UV Mapping manager. It shows for example: Magnet, Live selection tool (UV) soft selection mode for the UV mesh, Snapping, Relaxing, Reeling, Content menu of the Texture view, Selection tools, UV commands (of the UV mapping manager) etc.
The chapter can be named: Path selection/Fill selection/Front projection/Relaxing/Reeling. These five steps can prepare 90% of the stuff. The workflow is updated sometimes with other tools like Transform tab in UV mapping manager, but the main system is pretty simple.
The tire is a crucial object of the wheel. The object is pretty complicated and has many polygons and we want to get really nice and not distorted UV mesh suitable for the painting (in the future, for example). The workflow of the chapter is a bit more complicated. We will use the parametric projection for the base UV mesh and we will split the generated island to three main parts. Sides of the tire and the upper part. The sides will be adjusted independently but without scaling in horizontal direction. It will fix the crucial scale of these islands and we will be able to connect them back to the main island.
Just imagine not straight object, like the handlebar. And we need the really straight UV mesh because the object has been made from the plywood. In case we will split a part of the object we can use the UV Terrace command by very effective way that will solve the pretty complicated task. Relaxing, point selections and Transform tab will finish the job.
Really the same way as has been showed on the previous chapter. The front fork is the topic of the chapter.
Main plywood parts of the bike still left and they are prepared in this chapter. The chapter shows the UV mesh of the whole seat construction and the way is still the same. Selection/frontal projection/Relaxing/Realign. Sometimes will be the work really very fast, because the modeling way we have used in the past generated pretty usable UV mesh. It´s the main advantage of the NURBS objects using.
The edge can be pretty complicated and relaxing does not help us; the result is to deformed.we can go back, prepare really the same copy, with the same points position of this one part, the copy with really perfect UV mesh because the mesh is generated by used NURBS object and than we can combine this one object with the parent object. The result is perfect and prepared in several minutes. Without an effort...
The last part of the UV mesh preparation. We will convert the main Symmetry object of the bike redistribute all UV islands of the UV mesh. We will adjust all islands of all object that will use the same wood sample to the right rotation and scale. The reason is really very simple. The texturing will be very fast and we will copy Texture tags only.
Here we begin to create the materials for this project. Careful UV creation makes this process a simple task. Arroway Textures has provided the birch texture maps that make this model look so amazing.
Finalizing the materials by demonstrating 'mix' features of c4d. Here the subtle details are established that denote the materials at a glance.
Pavel Zoch (ing. Ph.D.) is a Czech independent artist and Maxon CINEMA 4D generalist that has been working CINEMA 4D help desk (for Czech and Slovak republics) and freelance for more than 10 years. Pavel has written many hundreds of articles on CINEMA 4D, hundreds hours of video tutorials and made a czech version of the CINEMA 4D. You can know Pavel's work from the official Maxon brochures and others Maxon PR stuff.
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