Basics of Seamless Looping Animation Part 2

Design / Animation / Post Production : Paul Clements
Created for Ministry of Sound

Soundtrack : ‘Reptile’s Theme’ by Skrillex

See the final commercial here vimeo.com/33174546

I am a new comer to Vray for C4D i have been wanting to learn how to master this plugin for Cinema. Over the last few weeks i have been battling away to try and get my head around all of the different settings that Vray for C4D provides to you.  I could say that i have picked up some interesting things along the way, learning from other people on the internet. But i still get confused on how to configure the settings to get the best possible result for the lighting, environment and model.

So far i have not come across a concrete workflow on lighting, to get photo realistic results or anything near, before compositing the 3d render. There are so many different ways to light your scene it can get so confusing! I just hope there a few Vray professionals  users out there that could share their knowledge on this topic.

Ok so here is what i have been testing over the last few weeks. I have a 3D Model here provided by http://www.ronenbekerman.com I also downloaded various 360 ski maps from http://www.cgskies.com/ in HDRI format and JPG.

Here are my basic settings for Vray.

GI On Gi Presets medium setup

Ambient Occlusion On
AO Amount 0.44
AO Radius 10
AO Subdivision 24

Detail Enhancement On
Default

Color Mapping
Type Exponential
Dark multiplier 1
Light multiplier 1
Gamma 1

Physical Camera
Film ISO 100
F-Stop 8
Shutter speed 60

The  sun light is has been roughly lined up with the HDRI image in the environment tab by using the offset U parameter.
Sun is On Environment is set to default.
Physical sun checked
Sun invisible unchecked
Physical sky checked
Sky intensity multiplier 50%
Sky only unchecked
Override BG Env checked
Override GI Env checked
Override Reflec Env checked
Override Refr Env checked
Turbidity 8
Ozone 12
Size Multi 4

In this image i am using a 360 sun set jpg format placed in the Environment tab. A filter has been applied with the gamma set to 0.45, Multiplier is set to 100% and Sun light is turned off.

In this image i am using a 360 sun set jpg format placed in the Environment tab. A filter has been applied with the gamma set to 0.45, Multiplier is set to 100% and Sun light is turned on. On the light tab
Override BG Env unchecked
Override GI Env unchecked
Override Reflec Env unchecked
Override Refr Env Checked

In this image i am using a 360 sun set jpg format placed in the Environment tab. A filter has been applied with the Gamma set to 0.45, Override Environment GI is checked & Reflection Environment is checked. In the two override channels i am using a HDRI version of the image. HDRI Exposure is set to -1.8 and Gamma to 1.8. This in both channels. Multiplier is set to 100% in all 3 channels and Sun light is turned off.

In this image i am using a 360 sun set jpg format placed in the Environment tab. A filter has been applied with the Gamma set to 0.45, Override Environment GI is checked & Reflection Environment is checked. In the two override channels i am using a HDRI version of the image. HDRI Exposure is set to -1.8 and Gamma to 1.8. This in both channels. Multiplier is set to 100% in all 3 channels and Sun light is turned on. On the light tab
Override BG Env unchecked
Override GI Env unchecked
Override Reflec Env unchecked
Override Refr Env Checked

In this image i am using a 360 sun set jpg format placed in the Environment tab. A filter has been applied with the Gamma set to 0.45, Override Environment GI is checked & Reflection Environment is checked. In the two override channels i am using a HDRI version of the image. HDRI Exposure is set to -1.8 and Gamma to 1.8. This in both channels. Multiplier is set to 100% in all 3 channels and Sun light is turned on. On the light tab
Override BG Env unchecked
Override GI Env checked
Override Reflec Env unchecked
Override Refr Env Checked

In this image i am using a 360 sun set jpg format placed in the Environment tab. A filter has been applied with the Gamma set to 0.45, Override Environment GI is checked & Reflection Environment is checked. In the two override channels i am using a HDRI version of the image. HDRI Exposure is set to -1.8 and Gamma to 1.8. This in both channels. Multiplier is set to 100% in all 3 channels and Sun light is turned on. Physical Sky unchecked.

In this image i am using a 360 sun set jpg format placed in the Environment tab. A filter has been applied with the Gamma set to 0.45. Area light Dome type is enabled with shadows.  A filter has been applied with the Gamma set to 0.45 and the intensity is set to 60%.

So there we have it! lots off settings doing different changes to the lighting. But which one looks the most realistic? Do i just render with a HDRI map in the GI override tab, and no light source? Or do i render with all the overrides enabled using JPGs & a HDRI map along with a light source? Or do i just setup a light dome, along with or without a light source?

A little help from the professionals would be great. Comments are welcome.

The new update ( JB VRay StudioTools 1.1) comes with complete compatibility for most Cinema4D versions ( R11, R11.5, R12 & R13). It is compatibile with the current version of vrayforc4d, 1.2.6, and it will work future updates of vray (1.3 and 1.5), except for the presets which we will update for the users for free. This update comes with new tools like the HDRI tool, more Studio Setups (presets) and much more features and bug fixes. I will provide Video tutorials, that I will post on the blog, to help you get the most of the tools.

http://products-josefbsharah.blogspot.com/p/vraystudiotools.html

Pixolator presents Sneak Peak #2 of ZBrush 4 Release 2!!! In the first preview, we showed you the new and improved BPR renderer with a full 32-bit floating-point HDR pipeline. Now take a look at more incredible NEW features and major enhancements coming up in Z4R2!!

Watch some sneak peek videos of the new ZBRush 4 R2 features

Today, MAXON announced CINEMA 4D Release 13, the next generation of its industry- leading 3D motion graphics, visual effects, painting, and rendering software application. With all new character tools, integrated stereographic capabilities, stream-lined multi-artist collaboration and physical rendering, CINEMA 4D Release 13 builds on the company’s 25-year legacy of enabling digital content creators around the world to produce highly engaging content quickly and easily for a variety of industries.

As MAXON commemorates its 25-year anniversary and its most successful year to date in 2010, Harald Egel, MAXON founder and CEO, observes that today’s work environments are marked increasingly by designers creating content in remote locations, working on various platforms and production pipelines, as well as producing more 3D stereoscopic material.

“CINEMA 4D R13 is supercharged with numerous productivity enhancements that cater to the multi-collaboration challenges our customers face every day,” Harald Egel states. “Artists interested in expanding their capabilities will love the new character tools. And, of course, the physical renderer with stereoscopic functionality is incredibly important as the new way to deliver immersive entertainment.”

Key Highlights of CINEMA 4D Release 13:
MAXON offers four versions of CINEMA 4D, each catering to the needs of 3D artists in different industries. NOTE: The features listed below may not be included in every configuration.

New and Enhanced Rendering Engine
Digital artists are constantly striving to improve the quality of their images. This new version gives CINEMA 4D users a bundle of new tools to aid in achieving the realism they crave.

• Physically-Accurate Rendering: Creating photorealistic images is easier than ever with the new physical render engine. Based on real camera properties, this additional render engine accurately calculates 3D motion blur, depth of field and lens distortion based on the focal length, aperture and shutter speed of the camera.
• Efficient Subsurface Scattering: Now users can efficiently create translucent materials such as milk, skin and wax with a new subsurface scattering shader included with both the new Physical Render and CINEMA 4D’s standard render engines.
• Shared Image Sampler: Saves tons of render time by combining sampling for multiple effects such as motion blur, depth of field, area shadows, ambient occlusion and blurry reflections. Sample options allow users to specify a fixed number of samples, apply an adaptive number of samples based on the geometry and shading complexity, or progressively render each frame within a given number of passes or amount of time.
• New Anti-Aliasing Filters: Users can now achieve higher quality anti-aliasing using the Mitchell and Gauss algorithms.

Stereoscopic 3D Workflow
Stereoscopic capabilities are supported throughout R13 to provide a dependable solution and fluid workflow for generating high-quality 3D content across a wide variety of media:

• Stereoscopic Camera Conversion: Gives users control to easily convert any camera to a Parallel, On Axis, Off-Axis or Radial Stereoscopic camera.
• Stereo Image Workflow and Preview: Stereo images can be previewed directly in the 3D editor using Anaglyph, Interlaced, Shutter or Side-by-Side methods.
• Stereo Rendering Options: Allows customers to easily render the merged stereoscopic image or separate images for each individual camera to create a true 3D experience.
• Picture Viewer Support: Review animated stereo renders, adjust parallax and export renderings as merged or individual stereoscopic files.

More Accessible Character Tools
The new suite of character animation features simplify the process of building a rig, eliminating technical hurdles and allowing artists to quickly animate characters of all types:

• New Character Object: Includes an auto rigger, which simplifies the process of building a rig and applying it to a character. Technical directors are able to set up flexible rig templates that any user can easily apply to their characters.
• New CMotion System: Allows users to create their own or apply preset parametric walk cycles based on cyclic motion. Make characters walk along a spline and over terrain, or even manually place footsteps. Can be integrated with the character object or applied to anything in a scene.
• New Muscle System: CINEMA 4D R13 now allows users to create custom-shaped muscles and anchor them to multiple joints within a rig. Includes deformer for skin stretching and sliding.
• New Collision Deformer: Deforms surfaces based on collisions enabling characters to intuitively interact with the environment around them.

Numerous Workflow, Modeling and Animation Improvements
CINEMA 4D is renowned for outstanding ease of use. With an enhanced navigation system and a number of interface improvements in R13, users can perform common application tasks more efficiently:

• Revamped Navigation System: New cursor-based navigation automatically sets the point of interest for rotation and dolly movements based on where the user clicks to begin navigation. This also ensures the speed of camera navigation is smooth and consistent, regardless of the distance to the point of interest – making it easy to pivot around any portion of a model or scene.
• Sticky Keys: Allows users to activate a tool only while its shortcut is pressed and immediately return to the previous tool.
• New Spline Data User Interface: Attributes utilizing spline data can now be edited much more precisely with additional spline types and the ability to view splines in a larger, separate window.
• Location Indicator: Provides artists with a new indicator that hints at the location of selected objects outside the current view.
• Surface Manipulation: Offers flexible options with a new Infinite Axis mode that lets users start manipulation from any point and easily snap surfaces to other objects in the scene. The rotation axis can now optionally display gimbal rotation, making it easy to visualize situations in which gimbal lock will occur, and can also transform multiple objects in a selection individually rather than as a group.
• Animation Enhancements: Based on user feedback, a lot of tweaks were made to the animation system to improve efficiency, including clamping, better curve handling, markers, etc.

Operational Efficiency

Miscellaneous Productivity Boosting Features
CINEMA 4D R13 also includes many new productivity-boosting features, including a host of new and improved shaders and more.

System Requirements
Recommended system requirements include Windows XP, Vista or 7 running on Intel or AMD CPU with SSE2-Support; Mac OS X 10.5.8 or higher running on an Intel-based Mac and 1024 MB RAM, DVD ROM drive. Up to 256 threads now supported. Standard DVD installation can take up to 2.5 GB of disk space.

Availability and Upgrade Path
CINEMA 4D Release 13 and BodyPaint 3D Release 13 are scheduled to ship in September through MAXON and its authorized dealers. Customers with an active MAXON Service Agreement (MSA) valid through September 2nd will automatically receive the upgrade. Current customers who do not have an active MSA can purchase an MSA before the end of August and be eligible for a free upgrade. New customers who purchase from now until August 31st will automatically receive a one-year MSA with their purchase.

NUKEX 6.3’s true 3D particle system integrates seamlessly with NUKE’s 3D workspace.

Artists can create a range of particle effects quickly and effectively within the composite including breaking windows, dust, fire and rain. No need to go back and forth to an external 3D rendering package.

3D Particles | NUKEX 6.3

PLANAR TRACKER (X)

NUKEX 6.3 brings Planar Tracking to NUKE dramatically speeding up common compositing tasks such as sign replacement, element inserts and clean plate generation.

Any new element to be matched to a planar surface such as the face of a building, floor or car side can easily be tracked, placed and animated.

Planar Tracker | NUKEX 6.3

DENOISE (X)

Our research team won a Sci-Tech® Award for our original FURNACE algorithms in 2007. We’ve now written a completely new Wavelet-based Denoise algorithm resulting in cleaner and more visually pleasing results with less artefacts, which is already being well received…

“I’ve been using Denoise in alpha on a few projects and it has easily saved 400 to 500 hours of my time and allowed me to produce cleaner more visually appealing results with less artifacts. It’s made pulling keys on grainy film like working in digital video. ”
Brandon Fayette
CG Supervisor and production lead, Bad Robot

Denoise | NUKEX 6.3

SPLINE AND GRID WARPING

We’ve completely rewritten the Spline and Grid Warping tools in NUKE to make them more intuitive and accurate to use. The user interface is unified with RotoPaint allowing the exchange of curves, attachment of spline and grid points to trackers, editing of animation in the curve editor / dope sheet and Python scripting support.

Spline Warp | NUKE 6.3

PERFORMANCE

The Local Read Cache can automatically create local copies of image sequences located on a network to reduce network traffic, improve user experience and artist interactivity.

The aggressive caching option takes advantage of available RAM to speed up compositing, avoiding re-rendering when changing frames or moving from script editing to playback.

AUDIO SCRATCH TRACK

The Audio Scratch Track works with NUKE’s curve editor, allowing artists to match their VFX to audio cues and generate animation curves from audio waveforms.

Audio Scratch Track | NUKE 6.3

USER PRESETS

Artists can tailor their workflow by creating preset configurations of parameters and nodes that can be re-used at a studio, job, shot or individual artist level.

DISPLACEMENT SHADER

This surface shader applies dynamic tessellation and displacement of 3D geometry at render time, resulting in quicker and higher quality 2D-3D stereoscopic conversion. This also has a similar effect on other 3D VFX compositing tasks such as virtual environment creation.

Displacement Shader | NUKE 6.3

3D PROJECTION

Project3D can now detect occlusions to stop projections passing through faces and objects. It is now quick and easy to set up high quality projections without unwanted artifacts.

CUSTOMISATION

NUKE’s already open architecture has been extended to make it even more customisable.

A comprehensive new Developers Manual for both C++ and Python programmers makes it easier for more technical artists to write plug-ins and automate common pipeline tasks.

The addition of LGPL Qt 4.6 also allows the use of any Qt user interface component directly inside NUKE.

DEEP COMPOSITING

Deep Compositing allows artists to work with ‘deep images’ containing multiple opacity or colour samples per pixel. This allows rendering of CGI elements without predetermined holdout mattes, avoiding the need for re-renders when content changes.

Deep Compositing | NUKE 6.3

View the tutorial over at Computer Arts Magazine

In February i attended the work shop at Tesside Univercity.  For those who can remember me i spoke mostly about 3D for the session and how to prepair for modeling a car!  if you did’nt already know about 3D then i really do hope that the talk enspired you to give it a try…

Audi R8 – Modelled and rendered in Cinema 4D R11.5 – Standard Render Engine, Global illumination & Ambient Occlusion added.

Digital Art / 3-Dimensional Art / Vehicles / Terrestrial (for land)©2011 ~TonyHarris

White Lights is a video Effects Plugin for C4D R12 or greater. Simply add the effect to your scene and insert an object into the Objects include field  and render the scene.
You will be able to use the plugin fully , but you wont be able to render to the picture viewer until you have purchased an activation key. Give it a try White lights plugin