Greyscalegorilla: Greyscalegorilla’s Favorite Cinema 4D R20 Featuresĭuration: 57:56 | Made with Release: 20 | Works with Release: 20 and greater
#C4d live manual
Josh also highlights some new Alembic re-timing and multi-instance features in Cinema 4D R20.Ġ6:48 Auto Tracking 11:20 Shadow Catcher (in Redshift and Physical) 16:24 Camera Calibrator 20:11 Manual Tracking 22:44 Virtual Keyframes 31:32 Object Tracking 35:10 Alembic Re-timing 37:57 Multi-Instances Next Josh shows the new manual tracking workflow and improved algorithms with virtual keyframes, tracking an incredibly difficult shot.
#C4d live how to
Josh first performs an automatic track for some footage, and then shows how to set up a shadow catcher in both Redshift and C4D’s Physical Render to incorporate 3D elements with the footage. Josh Johnson demonstrates the improved motion tracking in Cinema 4D Release 20 in this live presentation from Siggraph 2018. Josh Johnson: R20 Features and VFX Workflowsĭuration: 40:54 | Made with Release: 20 | Works with Release: 20 and greater Tim also explains the concept and execution of Reaction Diffusion with fields, and shows how it can be used to create organic growth effects.Ġ2:58 Fields Overview 08:11 Fields with Vertex Maps and Displacement 12:07 Nike – Fields with MoGraph Selection and Displacement 22:44 Sydney Opera House – Noise-based Growth Animation 33:00 Parametric Setup / Correction Deformer 36:25 Reaction Diffusion (Vertex Maps) 42:23 Reaction Diffusion in 3D Tim specifically shows how Fields simplifies two projects created in earlier versions of Cinema 4D – a Nike ad created with Buck and projections for the Sydney Opera House created with Spinifex. New in R20, Fields allows users to stack and blend falloffs in creative ways to control MoGraph, Deformations, Vertex Maps and more.
Tim Clapham: Fields and the Evolution of Mographĭuration: 49:16 | Made with Release: 20 | Works with Release: 20 and greaterĬ4D Legend Tim Clapham demonstrates creative uses for Fields in Cinema 4D R20 in this live presentation from Siggraph 2018.