Rendering. ‘Nuff Said! This video is dedicated to rendering CG elements and all the little intricacies that hide in animation software packages. You might think you know everything there is to know about C4D Rendering, but you’d be wrong. Learn how to master the look you need every single time you render a project, and while your building them. This rendering video has been moved up in the series sequence so that follows material management. (See, we have a plane for everything!) When it comes to high end visual effect training, there is only one choice, cmiVFX.com.
Probably one of the more difficult tasks in CG is the rendering process. Many iterations can make this task time consuming. However, the benefit of Cinema 4D, is the speed and ease of use dedicated to this area. Our tests have this app getting better results in less time, so we wanted to move this topic up the chain so that it is not and issue with testing skills later learned in the following volumes of this series.
In the first chapter, we'll learn how to use the picture viewer to store and view your images and animations in C4D. Then I'll review the use of customized post filters and stereoscopic viewer.
This chapter will cover a key concept of using various techniques to render sections of your scene to fine-tune the details of your render settings. We'll review:
Render Region, Render Object, Render Takes, Make Preview, Render Queue, Interactive Render Region, Render Settings, Renderer
This chapter takes us into the various render effects used to create real-world optical properties. We will cover:
Ambient Occlusion, Global Illumination, Depth Of Field, Motion Blur, Causticsing technique. This part of the video will allow you to get that staggered scaled look in your feather design.
In this part of the video, we'll set up Multi-Pass in the render settings before taking our multi-layered render from C4D to Photoshop.
After studying film and sculpture at the San Francisco Art Institute, Greg Kulz began working full-time as an artist in the SF Bay Area. Always interested in experimenting with new techniques and methods, Greg turned to 3D motion graphics as his new medium in 2001. Since that time, he has worked on such projects as the Team America and WWE video games, Ironman, various short films and a number of product modeling contracts for corporate clients including Sony, Panasonic and Frito-Lay. Greg's first love remains character creation, but he also enjoys working with motion graphics, texturing, and modeling.
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