Recently there was hosted a webinar on using Fluid simulation, Basic Fluids Simulation Workflow with Cinema 4D and RealFlow. It was hosted at a European time that made it very difficult for us in the East to view so we are hoping to announce a local timed version fairly soon.
But as promised, we recorded this webinar and have made it available online so you can view it at your leisure. If you were not able to experience the live stream you can still see how easy it is to create impressive, realistic-looking fluids simulations. You can also download the Cinema 4D, RealFlow and After Effects setups so you can recreate each step if the simulation on your own computer. A short set of instructions is also included.
The related Project files are also available here.
Download the project files here.
Interactive 3D is becoming the new norm with Cinema4D Stereoscopic Rendering and realtime VR – capabilities offered by ‘Unreal Engine’ and other games engines are producing fantastic realism from 3D software like Cinema4D Studio R17 that supports this Stereoscopic Rendering and interfaces to Unreal engine easily.
we are finding new ways to enhance and the architectural design experience.
Cinema4D has an easy path from ArchiCAD and other 3D design packages including Sketchup to build exciting realistic and interactive displays using Facebook’s Occulus Rift and the new Microsoft Hololens soon to be released that provide this immersive new display experience.
Check here for some more background from the Cinema4D Apprentice on how you can use Cinema4D for 3D stereoscopic production . Watch this following video and learn.
We have uploaded a recording of this event to our YouTube Channel if you’re interested in solidifying your skills or learning more about its capabilities.
For those were not able to attend, we invite you to watch the videos at your leisure to for more on the various Cinema 4D benefits and what it has to offer for architectural visualization.
This is a comprehensive review and demonstration of the architectural features that are available in Cinema4D Studio, specifically Cinema4D R17. It reviews the new Sketchup import improvements and also the powerful Mograph capabilities for adding mass 3rd party items such as environmental aspects including trees and plants that add realism to your model.
Remember that ArchiCAD and Vectorworks users have a particularly easy import path from these modelling systems.
You can download a Cinema 4D scene file with the grass material Johan-Bernd Zweverink used during the webinar here.
For those that need more details on acquiring Cinema4D see here for more details.
It’s a great time to consider Cinema4D 3D modeler for all new users and an even better time for existing users to consider upgrading to Cinema4D Studio ( full feature version ) as all new purchasers/upgraders get a free MSA included that ensures you get the new R17 on release.
FRIEDRICHSDORF, Germany – August 4, 2015 — MAXON today announced Cinema 4D Release 17 (R17), a milestone release of its cornerstone 3D animation, graphics, VFX, visualization, and rendering software. Cinema 4D R17 delivers new, expanded and completely reworked features for exceptional performance allowing creatives to more easily and efficiently manage and create outstanding content. Central to Cinema 4D R17 is the new Take System that provides complete and flexible scene handling to manage render layers and animation variations. Also included are new Lens Distortion tools for improved motion tracking, and completely reworked Spline Tools for a more efficient workflow for manipulating points, lines, tangents, arcs and more.
“MAXON is committed to enriching user experience and productivity,” says Harald Egel, managing partner at MAXON Computer GmbH, “The robust new features and subtle refinements throughout Cinema 4D R17 make this a must-have release.”
At SIGGRAPH 2015 in Los Angeles, August 11 – 13, MAXON will preview the new features in the R17. Key highlights include:
Take System: Delivers new functionality above and beyond a Render Layer System to provide flexible scene management allowing artists to create numerous independent takes of a scene and change almost any parameter for intuitive variations – all saved in a single scene file, eliminating file management hassles and wasted disk space. The ability to maintain complete versioning and variation control also saves users valuable production time.
Lens Distortion Support: Easily generate a distortion profile for any image, e.g., for curved and plunging lines when integrating 3D elements into videos or photos. The intuitive interface also improves functionality to remove distortion for tracking and scene creation, re-apply distortion at render time and offers the option of saving lens settings for future use.
Graph View for Motion Tracker: R17 has a new Graph View that highlights problem track points in a simple-to-use graph and lets users easily remove them from the calculation for improved efficiency.
New Spline Tools: The completely reworked Spline Tools in R17 provide artists with added control for manipulating points, lines, tangents and arcs more intuitively. Users can leverage Boolean operators like Intersect, Subtract, Union, And, Or for an even faster workflow.
Animation Workflow Enhancements: Now artists can animate faster and with more precision in Cinema 4D R17. Simply control F-Curves with weighted tangents with the option of automatically removing overshoot. Easily eliminate Gimbal lock with Euler filtering, define animation regions using range markers and master animation workflow with new Timeline preferences.
Sculpting Improvements: MAXON introduces dozens of new features in R17 to sculpt with precision and ease. The Sculpt to Pose Morph feature automatically creates morph targets for each sculpt layer, which lets artists quickly transition from character design to character animation. The new Edge Detection feature is designed to let users easily sculpt hard-surface models.
Houdini Engine Integration: A seamless integration for Side Effect Software’s Houdini Engine lets users load Houdini Digital Assets (HDA) such as parametric objects, simulations, etc., into Cinema 4D and manipulate them like standard Cinema 4D generators. The Houdini Engine processes the HDA in the background with extremely low overheads and returns it to Cinema 4D for a highly efficient yet unobtrusive workflow.
SketchUp Integration: Tighter integration in R17 with SketchUp – a 3D modeling program for a wide range of drawing applications ranging from film and video game design to architectural and interior design – lets creative professionals quickly populate scenes by accessing free, ready-to-use objects created and made available by the SketchUp user community.
This year’s FMX event in Stuttgart was a great opportunity to meet up with many of our partners and friends in the CG industry. We had the chance to catch up with the guys at MAXON, HDR Light Studio and Laubwerk, as well as some “out of office” time with our very own RealFlow team! Good news – HDR Light Studio and Laubwerk both have new versions which are compatible with Maxwell. HDRLS 5 plugins for Maya, 3ds Max and Cinema 4D all support Maxwell already, and Maxwell Studio compatibility will be out very shortly. Laubwerk actually announced their new Plants Kits 1.0.15 release at FMX, and this new version comes with support for Maxwell (free trial here) in both Cinema 4D and 3ds Max!
This added Maxwell support was first tested by Rob Redman, Creative Director at Pariah Studios, who used Maxwell and Cinema 4D for the testing. Rob was also our speaker at FMX this year! In this recording of the presentation, Rob talks about his pipeline and workflow, and also gives some practical tips on using Maxwell. Rob is a Maxwell Render Xpert Trainer – so listen up for insights into creating animated Multilight videos from one render, lighting & environment tips, cameras, materials, the importance of real world settings and more from this experienced professional and trainer.
Thanks, Rob! We hope you enjoy the presenation: Rob Redman´s Efficient and Fun Pipeline with Maxwell Render!
My name is Richard Green and my main work involves high end CGI and retouching for advertising and graphic design although I have also worked on film and TV productions when asked. My company is called Loop Corporation Ltd. I generally work alone but have a few people I can trust to call on when I need help due to deadlines etc. I often (as in this case) work with photographers mixing and matching elements as needed. I know a lot of CGI artists take great pride in creating absolutely everything but I love photography and I never see the point of rendering something you could easily shoot. I have also worked on quite a few animation and video post projects which I enjoy but the challenges of high resolution work are my main interest.
In terms of pipeline I’m somewhat application agnostic for the most part. When I started in 3D there wasn’t really one application on the Mac that excelled end to end so I would build in FormZ and render in Electric Image. Consequently I’m happy to use whichever application gives me the results I want. As the saying goes: when your only tool is a hammer, all your problems start to look like nails. These days I like to build in Modo with trips to Moi3D or ZBrush for their specialities. I prefer the scene building and animation layout of Cinema 4D which is definitely the hub for me. From there I will almost always render out to Maxwell which I have used since the pre-release of V1.
I understand photography so I found Maxwell very easy to learn and I like that I don’t need to switch on features like depth of field or caustics, they’re just on and not created as “tricks”.
Even when you go high on the f-stop to keep everything in sharp focus, there’s still a very pleasing falloff from your focal point that’s so much better than the razor sharp edges of many other engines. It’s the only renderer I have used which surprises me in a good way. I think we’re all used to waiting for a render to finish only to be a bit underwhelmed, I have had many occasions where I’ve been amazed by some lovely unexpected light detail from a Maxwell render. For my final high res render I will usually render overnight on my own Mac, time permitting, possibly networked to a couple of others but I have also had good experiences with Rebus and Ranch renderfarms when in a crunch.
If possible, I like to be involved as early as possible in the creative process with my clients. It’s best to plan an image with everybody involved so we can all discuss what the client wants to achieve, what we need in order to get there and any problems that we can foresee along the way. Sometimes the photography leads and I’m supporting that, other times the CGI is the main element and I’ll often work with the photographer to previsualize the scene so we can work out where the camera needs to be to make everything sit together properly. I will also gather HDR imagery on set if necessary and take any measurements needed to recreate any real world elements that I may need in my scene.
For this job, the creatives came with a very highly-finished visual and the stated intention to show a full size airport terminal on the button of a stopwatch. They really liked Johanna Parkin’s photography and were keen to have her shoot the stopwatch and set the mood of the image, leaving me to create a representation of Heathrow Terminal 2 which was still under construction.
It wasn’t a standard architectural visualisation in that we didn’t have access to the building plans and actually the creatives didn’t want a slavish recreation of the building.
We looked through a lot of reference shots of the building under construction and publicly available visualisations of it and they cherry picked the elements they saw as making it distinctive. Mainly the 3 humped roofline and the glass wall which is actually from another face of the building. I started roughing out these shapes in Cinema 4D until we had a silhouette that they felt worked for our visual, then started to refine it and incorporate more of the real world details.
I purchased a generic airport model on Turbosquid that I could easily cannibalise for escalators and furniture to populate the interior and, although they would be barely visible, I really wanted to fill it with people. Simple silhouettes would have probably sufficed but Dosch have a nice collection of very low res scans of real people so I used those. Although they were low res, they did tax the system quite a bit by the time I placed them all and just converting all the materials to Maxwell format was a major task but it’s a nice subtle addition to the image. The closeup interior image reveals their reckless behaviour on the balconies though!
I also had to replace the stopwatch’s central button with a plinth to stand on the terminal which I built in Moi3d and imported to Cinema 4D for texturing and rendering via Maxwell. I took the actual stopwatch from the shoot and created a simple model of it in Cinema 4D purely to experiment with how the light from the terminal might affect it and reflect into it. Ultimately a lot of that was felt to be distracting so it went unused. Then it was a matter of adding the hundreds of light fittings to pillars, ceilings, recesses etc. that would be the main visual element. I also created several 32bit exr’s for the screen graphics so that they would hopefully contribute to the general glow.
This was an unusual project in that it wasn’t so much about rendering surfaces, it was all about the combination of lighting visible through the glass frontage. In that respect, Maxwell was ideal as its Multilight feature meant that one render gave me 6 different layers of lights.
I imported these to After Effects as 32bit images and composited, adding more layers of glow and other effects to create the desired image. I prefer to work with After Effects for the 32bit composite as it still works much better than Photoshop at this depth (why can we still not use curves in 32bit Photoshop files?).
I rendered out this result from After Effects at 16bit for further compositing to Johanna’s watch photography in Photoshop. The final image was approximately 13000pixels square and you can get a good idea of the build progress from the animation. It was around 80 hours of work spread over 2 months. There are always lots of amendments and tweaks on a job like this but thanks to the creative team having a really tight brief and clear vision of what they wanted, it went very smoothly.
It was one of those jobs where I knew it would be taxing and I honestly wouldn’t have wanted to do it in any package other than Maxwell.
Star Alliance Heathrow T2
CGI and Retouching: Richard Green
Photographer: Johanna Parkin
Art Director: Dave Tokley
Copywriter: Matt Gilbert
Executive Creative Director: Guy Bradbury
Designer: Pete Mould
Maxwell Render Team: Thank you, Richard, for sharing your story with us and congrats on a great project!
If you also want to share your work done in Maxwell, get in touch here.
Cinematographer and 3D illustrator discusses why he uses MODO and MARI, how he found the learning process and what advice he offers in his tutorial below in Modo 3D in advertising photography.
How long have you been a cinematographer and 3D illustrator?
I started work at The Moving Picture Company, which at the time was developing a motion control unit. I was exposing film for tests right from the start. When we got past the development stage, I shot my first television commercial. I think I was 24. That was back in the 80’s when anything more than a dissolve or adding a title was considered a visual effect. I’ve been a 3D illustrator for three years.
How long have you used MODO?
About three years. I migrated to the design department about 10 years ago, when 3D software had little to offer over hand-drawing. Of course there were examples of some good work that was being done in visualisation but budgets and time frames mostly eliminated 3D as a design tool. ( Adrian also is a user of Cinema4D )
I was then mostly working alongside architects as a designer. I would have probably continued just using CAD for workshop drawings and hand illustrations for design if it wasn’t for working on the designs for The Chiltern Firehouse in London. Every single stick of furniture was custom designed and there was no facility to prototype. I had to think of a way of showing the client the finished product in blistering detail without there being anything other than some old, turn-of-the-century photographs for reference. 3D was the obvious answer but this in itself presented a problem. We had more than 200 objects to illustrate and about eight weeks to do it in.
Why did you choose MODO?
MODO really seemed to be a good option. In my limited experience at the time, we had to go for the quickest production renderer that was available and I judged that to be MODO.
Had you used any other 3D software when you started using MODO?
No, it was a baptism by fire, so when The Chiltern Firehouse project finished, I thought it was worth appraising all the other packages out there to see if we had made the right decision. So I really did all this the wrong way round.
As we all used Macs, 3ds Max wouldn’t work so we didn’t even consider it. Maya had the Mental Ray renderer, which to me, as a cameraman just seemed like a load of hocus-pocus. I think I must have taken every Digital Tutors course there was. Cinema 4D would have probably worked but with my limited experience I wasn’t sure how the third-party Vray plugin was going to work. It turned out that MODO was quick, effective, economic an all in one package. For the small to medium design practice, it would seem to be the natural choice.
How did you discover MARI?
I knew of MARI from the beginning but I had no interest in it. For me, learning 3D was a bit of a nightmare so the last thing I wanted to do was get involved in yet another application – after all MODO has its own very good set of painting tools. However, I went to a demonstration that was arranged by one of the resellers here in Sydney. I was genuinely surprised that MARI was relatively simple to use, that is, if you have had prior knowledge of Photoshop.
How did you find the collaboration between MODO and MARI?
I think without to much controversy one could say that MODO is the best modeller in the business and MARI is undoubtedly the best 3D painting application so the two combined would appear to be the very best of everything. I would like to see both of these programs fully integrated. MARI really does some clever things and it would be really interesting to see some of its massive data handling capabilities utilised right through to the render process but I guess this is all to come. Having said that, depending on your workflow, it is also very useful having MARI as a standalone application.
Why is the topic of this video important to you?
I feel photographers have a lot to offer the 3D world. I have seen a lot of very good work go to waste because of bad final presentation, lighting, and styling, which is where photographers really excel. If photographers were more aware of how the 3D process works and more 3D creators understood the importance of the use of photographic techniques, we would see a lot more consistent results coming out of MODO. Of course the best 3D artists know this already.
How do you think traditional 2D photographers will find the transition into 3D content creation?
In reality, I think photographers would find 3D hard, as it’s not really part of their mindset. However, for them, the dilemma is a lot of their traditional commercial work is disappearing to 3D. I came from visual effects, which is a very technical area and whilst I benefited tremendously from my prior knowledge as a cameraman, it was still a struggle. In illustration 3D programs do nothing else other than what a photographer does so one might think that the best person for the job would be a photographer. If a photographer had the inclination and time and energy to dedicate themselves to the learning process, they would stand a good chance of becoming a successful 3D illustrator. Easy access to comprehensive training is pivotable here because people migrating from one discipline to another are invariably self taught. In my opinion, training is an area where The Foundry has a good chance of excelling.
What advice would you give those unsure about working in 3D?
I would say “go for it!” For me I can carry on my design work and I no longer have to maintain a workshop or studio as a result – that was a pretty big incentive. There has never been a better time to start and the use of good photographic technique will become more and more important. One thing’s for sure – 3D is here to stay and it is only going to get bigger.
Maxon yesterday released a new Update for Cinema4D R16, service update 16.029 for CINEMA 4D and BodyPaint 3D R16.
This update is highly recommended for all R16 users. It includes a workaround for a threading problem caused by 3rd-party plugins, which do not utilize Cinema 4D’s threading API. Calling a Cinema 4D API function from within a thread that was not created using the Cinema 4D API could cause a deadlock. This workaround should resolve problems with all 3rd-party plugins that used this non-supported behaviour, including issues with VRayforC4D.
You might have read some comments in forums about this topic in CG Talk or the Vray-for-C4D forum.
Workaround for a deadlock problem that could arise in 3rd-party plugins not utilizing Cinema 4D’s threading API, instead calling API functions in a thread.
Fix for an OpenGL speed issue on OS X
Fixes problems with Object highlighting on OS X
Fixes an overflow problem when evaluating the timer after a long period of up-time
Legacy of 3D Software Innovation Delivers Modeling, Animation and Rendering Enhancements for ‘Real-World’ Workflow
September 1, 2014
FRIEDRICHSDORF, Germany – August 5, 2014 – MAXON unveiled Cinema 4D Release 16 (R16), the next generation release of the company’s industry-leading 3D software. In addition to countless workflow enhancements, Cinema 4D R16 delivers powerful new features including a modeling PolyPen ‘super-tool’, a Motion Tracker for easily integrating 3D content within live footage and a Reflectance material channel for multi-layered reflections and specularity. Release 16 reinforces MAXON’s commitment to provide creative professionals with stability, performance, unmatched integration, and a straightforward interface to optimize any workflow.
Key Highlights of Release 16 include:
Motion Tracker – Seamless integration of 3D elements into real-world footage.
Interaction Tag – Control over 3D objects and works with Tweak mode to provide information on object movement and highlighting.
PolyPen – Paint polygons and move, clone, cut and weld points or edges of 3D models.
Bevel Deformer – Non-destructive and animatable bevels.
Sculpting – Numerous improvements and dynamic features for precision.
Other Features – All-new Cogwheel spline primitive; Mesh Check tool; Deformer Falloff options, and cap enhancements.
Reflectance Channel – Added control over reflections and specularity within a single new channel, with multiple layers for creating complex surfaces.
New Render Engine for Hair and Sketch – A new unified effects render engine to seamlessly raytrace Hair and Sketch lines.
Team Render Server – Enhancements including a new client-server architecture.
Performance and Workflow Features:
Cinema 4D Release 16 performance and workflow features, including a revised Content Library, support for the current versions of FBX and Alembic, a new Solo button, Annotations, a new UV Peeler and more.