3D Attack - 2005 - 03

Volume 02 Issue 03
March 2005 | $3.99
HIGHLIGHTS IN THIS ISSUE:
MAXON GERMANY CEO
Interview with MAXON Germany CEO,

Harald Egel, on Page 4.
INTERVIEW
Read the interview with the popular

and talented CINEMA 4D artist,
Bernardo Barbi, on Page 15.
CHARACTER MODELING
“THE PRIZE FIGHT”

Round 2 is complete! Page 47
Part 2 of Mark Gmehling’s Character
Modeling Tutorial on Page 26.
© Mark Gmehling 2005

3D ATTACK QUICK INDEX
PAGE 4-6 Interview with Harald Egel by Tavy Ann
PAGE 8-9 3D Fluff Volume 2 Review by Mark Gmehling
PAGE 10-13 Simple IK and Reverse Foot Rig by Sebastien Florand
PAGE 15-18 Interview with Bernardo Barbi by Tavy Ann
PAGE 19-20 Plugin Review - Structure - by Gary Zullo
PAGE 21-25 Basic Modeling - Lookout Tower P2 by Bram van Gerwen
PAGE 26-30 Character Modeling Part 2 by Mark Gmehling
PAGE 31-35 Landscape Tutorial Part 2 by Georg Niedermeier
PAGE 36-40 Emorpher: Power of PLA Morphing by Sebastien Florand
PAGE 41-44 Clothilde Drapes by Jamie Hamel-Smith
PAGE 45-46 Fireworks with Thinking Particles by Bjoern Marl “Srek”
PAGE 47-49 “THE PRIZE FIGHT” Round 2 by Tavy Ann
PAGE 50-54 Best of CINEMA 4D Gallery
PAGE 55 Editors Notes
PAGE 56 ATTACK TOONS by Sir Gong
PAGE 57 The 3D Attack Team

Interview with Harald Egel - CEO Maxon Germany
By Tavy Ann
design applications. Would you MAXON products before, joined the

mind sharing with our readers a little team and in 1996 MAXON present-
insight on MAXON's beginnings and ed version 4 for these two new plat-
the development of CINEMA 4D? forms in English and German. At
this time we started to target the
Harald Egel: Originally we started international markets and two years
as students with a book project for later we founded MAXON Computer
Atari ST computers in 1985. But Inc. near Los Angeles. More and
very soon we convinced our publish- more localizations were added and
er that there is a market for a CINEMA 4D's reputation as a rock-
monthly magazine. So in January solid, fast and easy-to-learn pro-
1986 the first issue of our Atari ST gram started to grow worldwide.
Computer magazine was launched. Nowadays you can find our products
Later magazines for Commodore in almost every country in the world.
Amiga and Apple Macintosh were
Mr. Harald Egel, MAXON Germany - added. For eleven years, magazines In 2000, after the release of CINE-
CEO, recently took the time to were one of MAXON's main pillars. MA 4D R6, we added BodyPaint 3D
answer a few questions and bring a as the ideal painting and texturing
little insight for 3D Attack and our As our magazines were partly tool for CINEMA 4D. MAXON
readers, to MAXON's beginnings focussed in programming and opti- opened offices in the UK and Japan
and the development of CINEMA mizing the computer hardware, we and joined the Nemetschek Group.
Interview
4D. We hope you will enjoy getting had good contacts to many pro-
to know a little more about MAXON grammers at an early stage. So in With Release 8 we established CIN-
and the German Headquarters 1987 MAXON entered the software EMA 4D's modular concept in order
CEO. business and over the years got one to let the customer choose what fea-
of the leading software companies tures he needs and what not. It is
Tavy: Mr. Egel, thank you so much for Atari ST and Commodore Amiga well accepted and now we can offer
for taking time from your busy in the German-speaking countries. just the base package or different
schedule to speak with 3D Attack We published more than 50 soft- bundles tailored to special markets.
and share a little about yourself, ware titles for these computer plat- BodyPaint 3D exchange plugins for
CINEMA 4D, and MAXON with our forms. One of them was a program most of all other bigger 3D applica-
readers. Why don't we begin with called Fastray, which later in a tions were added.
you introducing yourself to our read- newer version was renamed to CIN-
ers. EMA 4D. So here the story began. Tavy: With more than 100 new fea-
tures, CINEMA 4D Release 9 is of
Harald Egel: I'm one of the three The first version of CINEMA 4D was the most impressive upgrades in
CEOs and founders of MAXON and developed by two brothers, Christian MAXON history. Where does
mainly responsible for the interna- and Philip Losch, who are still part MAXON go from here? What can
tional sales and marketing in the of the core development team today. CINEMA 4D users look forward to in
company. In this position I'm travel- In the mid-nineties the Atari and future upgrades and releases?
ling a lot to promote our products Amiga markets were declining more
and meet many people. Different and more, so we decided to take the Harald Egel: The next release will
cultures and foreign languages were next step and bring CINEMA 4D be R9.1, which is available as a
always one of my interests, so I (this time as version 4) to the free download from our website.
would like to say my job fits perfectly Windows and Macintosh platforms. CINEMA 4D and BodyPaint 3D are
to me. We used the chance to start from under permanent development. Of
the scratch and ported only the course I will not reveal any feature
Tavy: In the CG industry, CINEMA algorithms in order to reorganize the lists of upcoming releases here, but
4D is one of, if not, the most program structure. More program- I can say it is our philosophy to
innovative and cutting edge 3D mers, who worked on other make our programs as easy to use
4
By Tavy Ann
as possible, and so our key devel-

opment will always be improving the
workflow. A good example is
Clothilde, our Cloth tool in R9.
With just some clicks you can easily
animate cloth and fabrics. You do
not need hours to set up the scene
to create waving flags, clothes,
curtains etc.
Besides that, connectivity is very

important these days. We will defi-
nitely add more import/export filters
or exchange plugins. I.e. R9.1 con-
tains an interface for multipass ren-
dering to Apple's Motion. Maybe I
should mention, at this point, that
the feedback and comments from
our users and clients is very impor-
tant to us. We are collecting these
informations, and what finally gets
Interview
into the next releases depends to

some extent on them.
this industry, but not quite as far as the same league as the
Tavy: Let's talk a little about CINE- some of your competitors. Why do competition and now we are on the
MA 4D's render engine. We know you think the industry is holding right track, with both BodyPaint 3D
that it's "kind of" open, but what back and not using CINEMA 4D as and CINEMA 4D. Good examples
about the possibility of opening it a "full blown" 3D application? If they are studios like Sony Pictures
even further? In the near future do are, could you give us some exam- Imageworks, Cinesite or
you see the reality of using ples? Framestore, but there are many
Renderman, for example, with CIN- more now.
EMA 4D? Harald Egel: One of the possible
reasons MAXON products are Tavy: With MAXON offices in
Harald Egel: With Release 9 we maybe used less than some com- Germany, The United States, Japan
added some functions to our petitors is that we entered the 3D and the United Kingdom, can you
Software Development Kit which market internationally much later give us a quick breakdown of your
makes it possible to other software than them. Another reason could be target markets? Who's using CINE-
companies linking their render that in the first instance the trust in a MA 4D? Hobbyists, architects,
engines to CINEMA 4D. So i.e. local product is probably stronger designers, professionals, etc...?
Maxwell announced already a CINE- than in a foreign one. For example
MA 4D support. We are open to in our home markets, the German Harald Egel: Products like CINEMA
everybody and other manufacturers speaking countries, we are well 4D are used in many markets and
are in contact with us but, I cannot established for many years. these again differ from country to
tell here if and when these solutions country , so it's hard to give a global
will be released. Also in this industry everybody answer. In the States we target
knows each other over the years, especially film and broadcast,
Tavy: More and more we are see- which helps a lot when you plan to games and visualization. In Europe
ing CINEMA 4D and BodyPaint 3D establish a new product I guess. It we are additionally very strong in
used in television and film. MAXON took quite a while to prove that the architectural and print publishing
surely has their foot in the door in MAXON's products are playing in markets, but less in the game mar-
5
By Tavy Ann
ket. Asia is a mix out of all these Harald Egel: Thank you for giving www.maxon.net/pages/support/sug-
markets, but of course we have a me the chance to share some gestions_e.html
very good stronghold in the hobby thoughts with you. And as a last
market as well. This is historical as word to the readers: Please give us which we are constantly evaluating.
our entry level versions were always your feedback. It is very important to Please use it. I promise in return
at a good price point and easy to us. We at MAXON cannot develop you will see many great new fea-
learn. our software to your needs without tures in the future versions.
it. We have a suggestion form on
Tavy: CINEMA 4D users are some our website:
of the most dedicated 3D application
users on the globe. And MAXON is,
by far, one of the most supportive
3D application manufacturers there
is. Whether it be customer service,
tutorials, technical support or
MAXON employee's jumping in to
lend a helping hand on the many
CINEMA 4D forums on the web,
MAXON is always there. Would you
please share with our readers the
philosophy behind MAXON's fantas-
Interview
tic customer service.
Harald Egel: It is our company phi-

losophy to treat each customer as if
it was our only customer. In this
regard we are hiring our employees.
At MAXON we are having very dedi-
cated and enthusiastic people and
many of them just turned their
hobby into a job.
They are even busy after hours as

they simply like 3D and communica-
tion with the users. Additionally, I
dare to say our employees like to
work for MAXON as we are offering
a very friendly working environment.
That reflects in the customer service
as well.
Tavy: Once again, thank you for

taking time to share with 3D Attack
and our readers. We are looking
forward to the great things MAXON
has to bring in the future.
Please feel free to leave our readers

with any last thoughts or comments
you may have.
6
3D Fluff Volume 2 - Radiosity Interiors
Review by Mark Gmehling aka Macling
3D FLUFF TRAINING FOR CINE-

MA 4D - VOLUME 2 RADIOSITY
INTERIORS
In volume two Janine Pauke is

focusing on one of the most difficult
to handle topics in any 3d applica-
tion: achieving realistic lighting using
radiosity.
The Dvd comes along with about

160 minutes of video tutorials, the
required codecs for mac and pc, all
project files that are explained dur-
ing the video tutorials and a goodies
folder that contains seven high-res
HDRI Images and some other interi-
or scenes you can play with after
you gained your radiosity experi-
ences during the video tutorials.
DVD Review
The video tutorials are divided into

eleven parts that guide through the
whole process of material tweaking,
lighting and rendering in order to
achieve acceptable render times
while using the advanced renderer
modules radiosity settings:
1. The main radiosity setup

2. Basic theory of radiosity and glob-
al illumination interesting informations for the toshop.) The funny answer contains
3. Setting up and adjusting direct advanced CINEMA user. (By the some truth as we all know, because
lighting way: the not native english speaker in production we all have to deal
4. Setting up materials and adjusting will have no problem following with deadlines and a straight work-
their illumination settings Janine’s english explanations.) flow is the most important thing.
5. Adjusting shadows But the most important point is:
6. Setting up and adjusting indirect Janine’s explanations teach a global 3d Fluff Dvd Volume 2 concentrates
diffuse lighting technical understanding of the on teaching a straight workflow:
7. Scene setup radiosity settings and their relations Keeping the rendertimes low at the
8. Render setup to the main scene setup which beginning and only increasing spe-
9. Adjusting antialiasing settings makes you able to improve the cial settings when its needed during
10. Final photoshop improvements radiosity rendertimes of your own process. This means, not only the
of the multipass rendered layers scenes enormously. radiosity menu. The detailed setup
11. Final photoshop improvements of a whole scene and the materials
of the flattened image We all know the joke: "How many to fasten the rendering is explained
3d artists are needed to render a too.
All explanations in the video tutorials great radiosity image?"
are understandable for the interme- (Ten.- one who sets up the render One of the chapters teaches and
diate 3D Artists and also bear lots of and nine who kill the artifacts in pho- technically explains the different
8
3D Fluff Volume 2 - Radiosity Interiors
Review by Mark Gmehling aka Macling
DVD Review
antialiasing and GI accuracy set-

tings of each scene object via com-
positing tags for example, is part of
Janine’s workflow.
Finally , there is some photoshop-

artifact-removing needed, but that's
the result of an easy bill:
Compare the rendering time of lower

radiosity settings + photoshop
retouch with an exponential lower
radiosity rendering speed that ren-
ders no artifacts.
The photoshop tweaks (video ten

and eleven): Janine’s demonstra- ent radiosity settings, and will fasten Website: www.3DFluff.com
tions are worth watching even for your radiosity workflow for sure.
the advanced photoshop user and I'm looking forward to following the Price: $79.95 USD
may convince one to invest some third volume of 3D Fluff Training for
money into a Wacom Tablet, if you CINEMA 4D and hope Janine is Rating: 5 out of 5
haven't already. already working on it.
All in all ,an interesting Dvd even for Without a doubt, five of five attack
the advanced C4D User, which points!
teaches a technical understanding
of the relations between the differ- Mark Gmehling
9
Simple IK and Reverse Foot Rig
By Sebastien Florand aka “Fluffy”
Hello guys,
1 - In this exercise, we'll learn how

to setup a simple IK leg chain using
Mocca2. I will be using "Mr Burp"
here, ready to leave for his
Hawaiian vacations, as reference
[Image01]. Image 04
Image 02 Image 05
create a new bone, so just adjust it

to whatever length and orientation is
needed [Image06].
Tutorial
Image 01
Image 03
You'll notice that I have quite a lot of
different parts for that fellow in my >> Next, duplicate that bone
hierarchy. For ease of use, I put (Ctrl+click and drag bone in hierar-
everything inside a Null object that I chy - make it a child of the Pelvis
put inside a Hypernurb. bone), and make it a Null bone, by Image 06
checking on the "Null" box in the
This will allow me to activate/deacti- "object" tab of the attribute manager, >> Repeat the process to create a
vate the Hypernurb in one spot, when selecting that bone. The bone foot bone and toe bone [Image07]
hence switching between Low-res should turn a green sphere object, [Image08].
and Hi-res easily, and will also allow that's a Null bone. Drag that bone
me to use the bones to deform on top of your first leg (here I start
everything that is contained in that with the left leg), as that's where the
Null at once, even though they are leg should be placed [Image04].
separate parts [Image02].
>> Duplicate that bone, uncheck the
>> First of all, start creating a bone, Null box, make it a child of the first
from the"objects>deformation>bone" Null bone and rotate the bone so it Image 07
command menu. This bone is the fits the leg of your character. Scale
pelvis bone, that will support the the bone using the Model tool until it
whole hierarchy, so it will be at the reaches the knee area [Image05].
top of every other bones, at the
same level than the meshes - inside >> Using the Move Tool ("E" short-
the Null object. Place it at the waist cut by default), and pressing "Ctrl"
level and keep it oriented as it is key at the same time, select and
generated [Image03]. drag the tip of the bone. This will Image 08
10
>> Don't forget to name your bones a Root Goal from the Mocca toolbar.
properly, it's easier if you can identi- A "chin Root Goal" null is created,
fy things right away. The bone hier- and placed as target in the IK tag of
archy we just set up was for the left the chin bone (you can see the IK
leg, so add a capitalized "L" after tag display a small blue link thingy).
each bone name, we'll see later that Take that "chin Root Goal" Null out
it is a useful way of naming and of the hierarchy, as it should not be
renaming as we do a symmetry. affected by IK or the hierarchy when
I move my pelvis bone. Rename it
>> Select the Null bone at the top of "KneeL".
the hierarchy and apply the "Setup
IK Chain" function from the Mocca Select the chin bone tag and check
toolbar - this will place an IK tag on the "use as Pole" parameter, it will
each bone, set the Null bone tag as tell Mocca how is oriented the plane
Null, and create a Tip Effector of rotation for that IK. It will display a
object, as well as a control for that blue plane between the waist and
Effector [Image09] [Image10]. ankle [Image11].
Image 09
Image 12
Tutorial
Root Goal and Tip Goal using the

same button in the Mocca toolbar.
Take the "toes Root Goal" out of the
hierarchy, and leave the Effector
created at the end of the bone chain
where it is, it will maintain the tip of
the bone oriented based on the
position of the "toes Tip Goal" Null
position [Image13].
Image 10
Image 11
>> Erase both Null objects Effectors,
as we will setup everything manually. >> Select the foot bone and assign
a Root Goal. Take it out of the hier-
>> You can hide the mesh if you archy [Image12].
prefer, for better viewing of the bone
chain. Select the chin bone and add >> Select the toe bone and assign a Image 13
11
>> Still with the toes bone selected, twisting when we slide the foot side-
apply this time an up vector to the ways, for example). I also reset all
toe bone, and move that "toesL Up" my other Null Goal rotation values,
Null object created out of the hierar- so they are all aligned with the world
chy [Image14]. axis, a lot better for animation, and
cleaner.
Everything else now is mostly up to

the way you setup your Null Goals
hierarchy. It will drive the reverse
foot control, as well as the normal
foot IK.
Image 15
But first, let's create a Null object
Here is what looks like my bones that we will use as center of rotation
chain in the viewport, and where it is for the foot. We could use the "footL
located in the object manager. Root Goal", but it is not located
[Image16] properly for my character, and if I
rotate the foot, it will send it through
the ground. Name that Null object
"FootL Control". This Null object can
also be replaced by a polygon
Tutorial
shape or a spline, if you like to have

visual reference in the viewport. It
doesn't really matters, just make
sure nothing appears at render time,
and that the axis is properly posi-
tioned.
Image 16
>> Move the "Foot Control" object at

2 - Tweaks before we are done: the calf level, roughly where the foot
should rotate [Image17].
Here, I made some minor adjust-
ments for that specific rig, as my
Image 14
character didn't have straight legs
>> Select the "footL" bone tag, and but angled outward, so I had to relo-
drag the Up vector "toesL Up" that cate the Up vector on top of the
we just created in the Up Vector box foot, and closer to it (as it spawned
[Image15]. at nearly head level). I also reset the
rotations to 0 on every rotation axis,
>> Finally, drag the "kneeL" Null compared to the World axis, that
object a bit in front of the knee area, way I have a nice straight Null to
as it is still placed on the bone. This control my Up Vector.
Null will guide the orientation of the
knee. For those of you who don't have a
Image 17
clue on what is an Up vector, it is
Ok, so now our IK is roughly setup, simply a Null target that will orient >> For reverse foot, you should
it seems long and difficult, but it's the bone on its Z axis, thus prevent- have the "toesL Root Goal" as the
really not that hard once you are ing it from twisting when moving the center of rotation, and it should drag
used to it. IK chain (will prevent the foot from the back of the feet with it, which is
12
controlled by the "footL root Goal"

Null object, so put the "footL Root
Goal" as a child of "toes Root Goal" Image 19
and put everything as a child of the
"Foot control" object, so all the foot based on the World axis (provided
goals will move in normal foot IK your character is placed as the cen-
when you rotate that object. Have a ter of the world, and symmetrical).
look at my hierarchy if you find it The "Match search" parameter
confusing. You can rename the should be increased if your weight
"toes Root Goal" Null to "Reverse maps don't mirror properly (it hap-
footL control" if you want to have a pens sometimes when using several
clear reference when animating, or objects), it will increase the toler-
whatever is more obvious to you. ance of the tool, and expand the
[Image18] search for similar vertexes.
You may remember that we earlier Image 21

named our objects using a capital-
ized "L" after each of them, that's For animation, you can now focus
where the "replace" box comes in on the Pelvis, Foot controls, reverse
handy. foot controls and knee controls
movements, that's it ;)
Set "Replace" from "L" to "R". It will
Tutorial
rename your mirrored objects and Next time, we'll see how to assem-
Image 18 replace every capitalized "L" by a ble the spine and arms. I hope you'll
capitalized "R" (stands for "Right" for enjoy your future IK setups, and
>> The last thing to do now is to those who didn't follow) - quite use- don't hesitate to contact me on the
select all IK tags and increase the ful [Image20]. 3D attack forum if you run into any
Goal strength and Up Vector problems.
strength to 100%, that way the
bones will stick better to the bones. Cheers,
Fluffy
3 - Mirroring things:
We are done for that foot, you can
now start to paint weight maps using
Claude Bonnet. I won't explain that
part of rigging and will show you
how to use the symmetry to mirror Image 20
bones hierarchy and Claude Bonnet
maps without hassle. >> As you can see, everything has
been mirrored properly and
>> Select your bone hierarchy to renamed. The only object that was-
mirror, starting from the "NullL" n't mirrored was my "FootL control",
object, and click on the "Bone mir- that I created apart from the IK
ror" command from the Mocca tool- chain. It is simple enough to fix, just
bar [Image19]. take all the "R" named goals out and
duplicate that Null on the other side,
>> Check everything except "Clone putting all the "R" named goals
animation" which won't be of much inside it, as shown [Image21].
use since we didn't animate any-
thing yet, and make your mirror And you are done!
13
This month MAXON is sponsoring our C4D Quiz with some great prizes. By answering a
simple question and sending an e-mail with C4D Quiz in the subject line and your answer to
3d attack@3d attack.net you could win the following:
3D Guru Vol 2 and a MAXON Polo Shirt
Explore the depths of CINEMA 4D R9's new and improved modeling toolset in the second
volume of The 3D Guru series. Learn techniques that will aid in the character modeling
process, including topics such as n-gons, HyperNURBs, Soft-selections, edgeloops and
more. Over 4 hours of CINEMA 4D R9 character modeling training in our popular video format.
Question: CINEMA 4D is used in many industries. Which are mentioned in the

Solutions area of the MAXON website?
MAXON will be giving 5 gift packages containing one 3D Guru Vol 2 and one MAXON Polo
Shirt. That means 5 entrants will win! All entries must be received no later than March 31,
2005. We will announce our 5 winners on our forum at www.3d attack.net on April 1, 2005
and via e-mail. Enter at 3d attack@3dattack.net today and KEEP ON ATTACKING!
Interview with Bernardo Barbi
By Tavy Ann
Bernado Barbi
Tavy: Bernardo, thanks so much

for taking time to share more about
you and your work with our readers.
I know you have an extremely busy
schedule and time is valuable, once
again, thank you. Why don't we start
with you telling us a bit about your-
self.
Bernardo: My name is Bernardo

Interview
Barbi. I am Brazilian, 27 years old,

born on an island called
Florianópolis on the southern coast
of Brazil where I began to work in
advertising as a designer. I worked
for some years as an advertising art
director until I became acquainted
with the 3D universe where I began
my study of CINEMA 4D. I fell in
love with the software and it is my
principal work tool today. I am an
enthusiastic lover of this beautiful
software and I am following its
development with enormous pleas-
ure. I am one of the few profession-
als that use this software in Brazil,
but I am sure that it will become
very popular here. At present, I am
working at the Platinum studio, in
Rio de Janeiro. about Platinum's work when I was tool. Platinum is one of the major
www.bernardobarbi.cjb.net invited to work with this excellent prize winning studios in Brazil, with
team of professionals. When I joined prizes won in Cannes, the New York
Tavy: Would you mine sharing with them, Platinum was using other 3D Festival, EPICA, among others.
us a little about Platinum Studio? software. I introduced CINEMA 4D www.platinumfmd.com.br
and bet on its capacity. Within a few
Bernardo: Platinum is an image months, CINEMA 4D became our Tavy: What is your educational
creating studio that works for adver- principal tool for image creation. I background? Do you have any for-
tising agencies in Brazil and am proud of having contributed to mal training in 3D/CG?
throughout the world. I already knew the studio with my work and this
15
By Tavy Ann
Bernardo: My professional develop- Tavy: Octopus! What a fabulous Tavy: When starting a new project
ment originates in advertising work. project. Can you tell our readers a where do you find your inspiration?
As a designer and CG artist I am little about this great project?
self-taught, as I believe is the case Bernardo: My inspiration issues
with the majority of Brazilian CG Bernardo: Octopus! I loved being a from the possibilities and the capaci-
artists. We have to study hard to part of this work. It was widely ty offered by 3D in creating all kinds
compete with the large international acclaimed and represented a chal- of images. I take in consideration
centers. I believe that is the reason lenge. The work was commissioned that photography, the form, and the
we have excellent CG artists in by an advertising agency in Brazil fact that creating images is limitless.
Brazil. and is a good example of the kind of
work Platinum does in image cre- My time is shared by commercial
Tavy: Can you give us a quick ation. and personal works. Individually, I
overview of your professional do a lot of studies and have less
career? When I began to work with Platinum time available than I would like.
this project was on standby. I took
Bernardo: My career has been over the 3D part and was able to Professionally, I apply my personal
fully given to design, always working work with Cinema 4D up to the end. expertise and am moved by daily
with advertising agencies as the art I cannot forget that this is a work challenges and the excellent team I
director, up to the time when I dis- that brought together a number of work with.
covered 3D.I am devoted to photog- professionals.Technical data and
raphy and design. 3D was a means Making of: Tavy: Can you share with us some
Interview
to bring together the two passions. production tips, your work flow?
Nowadays, I work only with 3D. http://www.cgnetworks.com/story_cu How do you start a project and
stom.php?story_id=2585&page= where do you end it?
16
By Tavy Ann
Bernardo: All my work begins with

research and planning. Photography
research, form and light, are funda-
mental. I love composing 3D ele-
ments with images.
Tavy: Of all your works what are

Interview
you the most proud of?
Bernardo: My last job is always the

favorite, for technical reasons and
evolution, I believe, but Octopus! is
surely the one I am most proud of.
web site, should anyone be curious Bernardo: Individually, I am doing
Tavy: Who are some of your about them. If I were not working a lot of character studies, working
favorite 2D and 3D artists? with 3D I would certainly be doing with Cinema 4D and Zbrush togeth-
professional work as a music pro- er. Professionally, we have a new
Bernardo: I love Mark Ryden paint- ducer. job similar to ET, which Platinum
ings; he is one of my 20 preferred developed for an agency in
2D artists. Among 3D artists, I have Tavy: What version of CINEMA 4D Portugal. It is for the same client.
not one I like most; I simply like are you currently using? What other
good works and follow the evolution software apps? Tavy: Thanks again for sharing with
of artists that use Cinema 4D, like us Bernardo. Your a wonderful artist
Pupi, Cartesius, Gianlucca Mattia, Bernardo: I use version 9 of and I'm honored that you took time
Janine, Carles Piles, ThirdEye, Cinema 4D. I believe the evolution from your day to talk with us. Do
Mostyle, Rui Batista, among others. of Cinema 4D has been fantastic. you have any advice or words of
Another software that is part of my wisdom for the thousands of aspir-
Tavy: When not busy working on work is Zbrush. I like very much the ing 3D artists across the globe?
personal or professional projects, way Zbrush sculpts, and I think the
what do you like to do? working together of these two tools Bernardo: I thank 3D Attack maga-
is fantastic. zine for sharing this space with me.
Bernardo: Music. I adore music! I As already mentioned, I am an
do parallel work in music producing, Tavy: Are you currently working on enthusiastic lover of this wonderful
working with some bands and writ- any new projects, or maybe a future software called Cinema 4D and of
ing my musical compositions. Some project you can tell us a bit about? the work 3D Attack is developing
of these that I produced are on my and which is working out as much
17
By Tavy Ann
as Cinema 4D. A word of advice to

the artists spread throughout the
world is to publish their work, inde-
pendently of the software they are
using. Technique and the study of
classical theories like photography,
light and form are fundamental.
Thanks to all!
Bernardo Barbi
Interview
18
Plugin review: Structure
By Gary Zullo aka MrPixar
Hey there fellow attackers! Have ated. You can apply the Structure 3) T-Shapes
you ever wondered how people cre- modifier to a polygon selection of to 4) C-Shapes
ate all those great greebles and the entire polygon mesh. As with all 5) Bar-Shapes
nurnies on their models without the options of Structure… the choice
spending infinite amounts of time is yours. You can decide which shapes are
modeling them all by hand? I know I used in the generation process by
have. What's a greeble or a nurnie The control panel for Structure is clicking each "shape" to enable or
you ask? Well, simply put a "gree- quite complex in what it allows you disable them
ble" or "nurnie" is a non-specific to do, but is presented in a logical
gadget added to an object in order manner to minimize confusion and Here are some examples of just
to increase detail, like little gizmos maximize your potential and output. what types of things are possible
you would place on a spaceship, or It can be accessed by double-click- with the Structure plug-in. Each
a cityscape. Don't want to do it by ing the icon of the Structure object example took me 30 minutes or less
hand? Me either, enter Structure… in the Object Manager. Once you to generate, render and composite if
access the power of the plug-in you needed. To me, that is pretty
This plug-in will save you an almost- can see that it is well-laid out and impressive since it used to take me
unbelievable amount of time and is each part pretty much explains itself. 30 minutes just to figure out which
surprisingly easy to use. Once The settings cover you from which shapes I wanted to greeble, then fig-
installed (as with all standard C4D components are generated to how ure out how I wanted to actually do
Plug-ins, you just need to drag the they will look (e.g. Height, Width, it …
Plugin Review
plug-in into C4D's plug-in folder) you and Bevel etc. etc.) and until you
will notice a new item in the plug-ins make the object editable you can
menu ("Structure R1.3": See Image modify anything you need to and
1). Upon selecting the plug-in a new "update"
object will appear in the Object
Manger (more about that in a
minute).
Example of using structure in a

space-tech scenario: The entire
scene took 30 minutes to render at
a rate of 3, two renders (upper left
and lower right) as well as composit-
ing time.
Structure 1.3 is a plug-in for R8+

that allows you to randomly create
greebles and nurnies to your heart's The different types of shapes
content quickly and easily. This Structure can generate:
plug-in is actually an object modifi-
er/generator that lets you easily cre-
ate some complex structure on any
polygonal surface and it works by Example of using structure in a
creating a "Structure" object then cityscape type scenario: This entire
you drop any polygonal object as a 1) Cube-Shapes scene took approximately 15 min-
child of it and the greebles are cre- 2) L-Shapes utes to build (including about 10
19
Plugin review: Structure
By Gary Zullo aka MrPixar
minutes to tweak S&T) and render. time to generate the structures

Imagine how long this would have (since it is actually creating new
taken if I had to model the "build- geometry), I think there is some
ings" by hand room for improvement.
Things I liked: 2) Another area I would like to see

improved is with the control panel.
1) The intelligent way Structure Currently, once a set of structures
grouped polygon objects once made are generated you cannot randomly
editable. Based on the way you tell re-generate them without turning the
Structure to generate the shapes it modifier off then back on. I'd like to
will group them as follows: "Base", see a "random" button added to the
"Base Top", "SuperStructure" and panel so that when pressed it ran-
"Superstructure Top". This makes it domly generates structures based
a breeze when it comes time to tex- on the parameters specified EACH
ture all that geometry! TIME. Given those two relatively
minor points I have to say that this
plug-in is actually one of those must
haves if you need to created details
on technology pieces or cityscapes
Plugin Review
quickly and with amazing results. It's

certainly a very nifty and handy tool
to have in one's toolbox :
2) The relative ease-of-use to power
ratio. Even though the plug-in is a
single-area utility it is quite good at
what it does. It's specialized, and it Summary:
does what it does happily and
repeatedly. Price: $55 USD
3) Since Structure is an object modi- URL:

fier/generator is can work in much http://homepage.sunrise.ch/mysun-
the same way that any other gener- rise/jane_meyer/KeemanPlugs.htm
ator or deformer works … it can be
enabled and disabled as needed. ORDER URL:
Great touch! http://order.kagi.com/cgi-
bin/store.cgi?storeID=72K
Things I'd like to see improved on:
Not much actually, but … Email: miaow@dplanet.ch
1)I would like to see a speed Platform: PC/MAC Compatible

improvement of structure generation
on polygon sets larger than 100 or Rating: 4/5
so. Currently, when applying the
structures to polygon sets (either by
selection or entire meshes) it does
take a progressively longer time to
process the structures with larger
sets. While it should be considered
normal and acceptable that it takes
20
Basic Modeling - Lookout Tower Part 2
By Bram van Gerwen
This tutorial is the continuation of the steps to make only one full rota- your original object, it will represent
Part 1 in the February issue. You tion round the pillar counter-clock- the original object it is linked to with-
can use your scene you created wise so set its Start Angle to 360¼ out actually duplicating the geome-
then, but I advise using the included and its End Angle to 0¼ like in pic- try, this way when you make a
TowerPt2Start.c4d file to avoid ture 1/A. change to your original object it will
inconsistencies. And a finished part be immediately be visible in all the
2 file is also included for reference. linked instances. The duplicate func-
tion has created a group of
We continue our modeling on the instances in the object manager,
tower by creating the spiral staircase drop the Step object into it to have
inside, this will be done simply with all steps in one group.
some splines, instances and the
arrange function. Select the Cylinder We are ready to arrange the steps
and rename it to 'Central Pillar' and The arrange helix is now finished now so call the Arrange function
copy it. Now create a new empty and for clarity rename it to 'Arrange (Functions -> Arrange). This will give
scene and paste the central cylinder Helix'. Duplicate this helix and you some options in the attributes
into it without moving it, we want the rename the duplicate to 'Rail Helix'. window. Set the Mode to 'Along
cylinder to remain in the exact same Set the Start and End Radius of the Spline'. The along spline parameter
place so we can simply copy/paste rail spline to 50, this is the radius of fields will now become visible. Drag
the stairs we are going to create the pillar and thus the rail will wind the Arrange Helix to the Spline field
back into the Tower Start scene perfectly along the pillar while main- (under position), then enable the
without having to place it in the right taining the same rotation angle and rotation field and drag the Rail
Tutorial
spot. thus allow the steps to target it with- spline into it, in the rotation part set
out tilting the wrong way, see picture the Align parameter to +X, this will
The first element we create is the 1/B for reference. keep the steps horizontal when
step. Create a Cube and set the arranging, see picture 2.
sizes to X 110, Y 27 and Z 30. Also Our current step has a length of 110
enable the Fillet and set its Radius and the radius of the pillar is 50, the
to 2 for a nice rounded edge. The steps will be arranged according to
next step is to make the paths along their object axis which is in the
which we want the steps to be exact center of the object. This
arranged. means that if we want the steps to
touch the pillar when we arrange
For this we will use two Helix them we need to set the Start and
splines, one for arranging the steps End Radius of the Arrange helix to
and one as a rail spline to aim the 100. This is the sum of 50 from the
steps toward the central pillar. cylinder and little less than half of
Create a Helix spline (Objects -> the step length. If we leave the Now select all 20 steps, make sure
Spline Primitives -> Helix) and set radius values at 200 the steps will you don't have the null object of the
its Plane field to XZ to align it cor- float clear of the pillar which is not group selected, and hit Apply in the
rectly with the pillar, as you see its realistic. arrange options and you can see
base is in the middle of the pillar so them being neatly arranged across
set its position to Y -260 in the coor- Having done that we need to make the Arrange spline while targeting
dinates manager to move it to the instances of the one step we have the Rail helix and remaining hori-
bottom of the pillar. so far. Select the Cube, rename it to zontal like in picture 2. But we can
'Step' and use the Duplicate function easily see that the steps are not
The height of the helix can now be (Function -> Duplicate), set it to 19 deep enough to create connected
set to 490, a little lower than the duplicates and enable create steps, this is where the usefulness
height of the pillar so the steps won't instances option and hit Apply. The of the instance comes into play.
exceed the pillar height. We want instance object is a sort of alias to Select the Step object and change
21
By Bram van Gerwen
its Z value to 50 and hit enter, will immediately see a couple of

immediately you will see all the duplicates being arranged around
steps gaining in length and the gaps the tower. Depending on which side
between them are closed. you started to model the ornament it
might be turned toward the tower
The spiral stairs are finished, instead of away from it which is
rename the group to 'Spiral Stairs'. tion tool, disable 'Only select visible what we want. If the flat side is not
Copy the group and paste it into the elements' in its options and drag oriented toward the tower select the
Tower Start scene, you can switch over the side of the object to select ornament object inside of the
open projects in the Window menu. all side polygons, check picture 3/B hyperNURBS and set its H rotation
Set the H rotation of the spiral steps for reference. Then select the Inner value to 180 and hit enter, you can
group to 95¼ in the coordinates Extrude tool (Structure -> Extrude immediately see all the array dupli-
manager, this will make the stairs Inner), set its offset to 2 and then cates rotate 180¼, see picture 4/A.
reach the hole in the ceiling perfect- Apply. Inner Extrude extrudes along
ly. We are finished with the staircase the same plane of the selected poly-
now. gon instead of extruding in height
along the normal of the selected
Next we will create a row of orna- polygon. With the extruded selection
mental supports for the battlement. still active on both sides select the
This will be done by means of mod- Extrude tool and set it to -2 and
eling one support object and placing apply, this will extrude the selections
it in an Array object that can make inward creating a nice raised edge.
Tutorial
automatic instances along a certain Switch to front view and set the Y
radius, very handy to make circles Create a hyperNURBS object position of the array object to 226.
of objects while using only one (Objects -> NURBS -> This will align the ornaments nicely
object. hyperNURBS) and drop the orna- with the start of the battlement, but
ment into it. We can see it being they are still not touching the tower,
Create a new empty scene and cre- smoothed nicely, all we need to do so set the radius of the array object
ate a cube and rename it to 'Support now is add a couple of knife cuts to to 223 to move the objects closer to
Ornament'. Set its properties to the sharpen some of the roundings. the tower. Now that the ornaments
following values: X 17, Y 51, Z 7 Deselect All polygons (Selection -> are fitting nicely to the tower we can
and its Y segments should be set to Deselect All), select the knife tool increase the duplicates, set the
3. This will make a very small object and set its mode to Loop. Cut two Copies in the array object to 36, cre-
so zoom in on it. Make the orna- loops near the edges of the object ating a nice circle of supports, see
ment editable an select 2 upper along the width like in picture 3/C. picture 4/B.
polygons on a wide side like in pic- Now switch to a side view, set the
ture 3/A. Select the Extrude tool knife mode to Plane and set the Now that the array is in place we
(Structure -> Extrude) and set its off- plane field to X-Y and make two can make it invisible for now by
set to 7, the same as the Z length of cuts like in picture 3/D. Then set the clicking the dot twice and do a little
the object, disable the realtime mode to X-Z and make the third cut tweak on the windows, the straight
update and hit Apply. Ctrl click the near the bottom of the object, also top of the windows doesn't look that
lower selected polygon to deselect it in pic 3/D. The ornament is now fin- well so close to the ornaments.
and hit the New Transform button in ished so copy the ornament While holding shift select the poly-
the extrude options which should hyperNURBS object and paste it gons adjacent to the tops of the win-
still be active if done right. We now into the Tower Start scene. dows like in picture 5/A, then select
have the basis of the object, and the move tool and move the poly-
can add some details. Create an Array object (Objects - gons down over the Y-axis until the
>Modeling -> Array), rename it to tops are nicely rounded, see picture
Go into a side view and zoom in on 'Ornament Array' and drop the orna- 5/B, make sure you don't drag them
the object, then select the live selec- ment NURBS object in there. You too far so they start overlapping the
22
By Bram van Gerwen
selection 2 times so the entire mur-

lon tops are selected. Then select
the extrude tool and extrude with 4
offset. Almost done on the battle-
ment addition, select the knife and
set it to plane, set the plane field to
X-Z and make 2 cuts at the top and
bottom of the slanted sides of the
Selection -> Shrink Selection to

remove them from the selection.
When the polygons on top of the
battlements are selected use the
Extrude tool, set it to 4 offset and
apply, make sure subdivisions is set
to 0, we want to make slanted tops
on the murlons so we need the
extrusion to make sharper corners.
Make another extrusion of 30
meters with the new transform but-
polygons below them. After this ton, result in picture 7/A. Now we
Tutorial
change select the loop selection tool need to make the top parts smaller,
(Selection -> Loop Selection) and this can be done for all the tops in
select the front polygon loop in all one go by using the Normal Scale
three windows like in picture 5/C, tool. Every group that is in the
select the extrude tool and set the selection sort of has its own central murlons to sharpen the edges, see
offset to 3 and subdivisions to 1 and point by which each group will be picture 7/C.
apply. The windows look much more scaled when using the normal scale
defined after this action. Only the tool. It's time to make the door and make
undersides are a bit to rounded still, the frame of the doorway a bit nicer.
select the knife tool (Structure -> Select the Normal Scale tool We will make the door frame and
Knife), disable restrict to selection, (Structure - Normal Scale) and set the door by extracting a spline from
set the mode to Plane and the plane the scale field to 0% and hit apply the geometry of the current frame.
field to X-Z, then make a cut near once and new transform twice to select the polygons around the door
the bottom of the windows, picture scale the groups down, try to make like in picture 8/A and use the
5/D. a habit out of disabling the 'realtime Select Outline tool (Selection ->
update' option. If you look at the Outline Selection), with the tool
While we're at it, make 2 cuts along coordinates manager you will see active click on the polygon selection
the tilted surface under the battle- the size of the current selection, we and its outline edges will be select-
ments near the top and bottom like want the tops to be placed a little ed. Now that the edges are selected
in picture 6/A. We'll continue on with more inward so change the X and Z use the Edge to Spline tool
an addition to the battlements. sizes to 420 each and apply, you will (Structure -> Edit Spline -> Edge to
Select the Rectangle Selection tool notice that with this standard scale Spline), this will create a spline of
(Selection -> Rectangle Selection), method the entire group was scaled the selection as a child of the tower
disable 'only select visible elements', as a whole instead of by their own body in the object manager. Select it
and in a side view drag a square centers, result in picture 7/B. We and drag it out of the tower body.
over the top polygons like in picture now need to extrude the entire 'cap' Make the tower body invisible for
6/A. If you drag too far and select of the murlons so we need to now, then select the Point Tool
the row below it as well you can use expand our selection, grow the (Tools -> Points) and with live selec-
23
By Bram van Gerwen
tion select the outer spline and arranged. In the coordinates manag- adjustments. Select the rectangle
delete it, we won't need that part, er set the Size field to Scale, set the selection tool and go into Point
result in picture 8/B. Because the Y-scale to 0.98 and the X scale to Mode, drag across the lower half of
spline was extracted from straight 0.92 and hit Apply, this is very subtle the spline to select those points, you
polygons it is still linear and has no because we want the frame bricks can grab the Y handle on the axis to
roundings, set its typ to B-Spline to touch the inner door frame. move the points down without hav-
and the Intermediate points to Switch to the Model Tool and create ing to go into the Move Tool (Tools -
Adaptive, this will give the corners a Cube, rename it to 'Doorframe > Move), see picture 10/A. Now
automatic roundings without the Brick', set its size to X 14, Y 6 and Z select the upper thinner part of the
need to use tangents, also enable 14 and enable a fillet with a radius spline and move them a bit up, also
Close Spline so there are no gaps in of 1, a nice flat brick. Just as with go into scale mode with this bit and
the spline. the spiral staircase we must create scale them a bit thinner across the
instances of the doorframe brick, X axis only so they are clear of the
this time duplicate the instance 35 bricks, see picture 10/B, in the
times. Scale Tool it's also possible to grab
the axis handles and drag to scale,
Select all 36 objects (not the null) very handy.
and call the Arrange function, set it
to Along spline and drag the door
spline to the spline field, enable
rotation and set it to +X and hit
Apply. There, the bricks have been
Tutorial
nicely arranged inside the door

Rename the spline to 'door spline' frame along the door spline, see pic-
and select the Object Axis tool ture 9. Now it's time to make the
(Tools -> Object Axis), with this tool door.
you can move the axis without the
object moving. Switch to 4 views
and you will see that the spline has The door spline is ready to be used
taken its axis point from the geome- to create the door, create an
try of the tower, which was simply at Extrude NURBS object (Objects ->
world 0, not a disaster, but we need NURBS -> Extrude NURBS) and
to move the axis if we are to scale drop the spline into it. The basis for
the spline properly. our door is created, but we notice a
lot of artifacts on it because the
So with the axis tool active set the Y spline we extracted still has the cur-
position to -105 and the Z position vature from the tower geometry, we
to -215. This spline will function as need to flatten it, we are going to
an arrange spline first for a group of Making backups of your arrange use a cube to flatten the spline
bricks which will be the door frame splines is usually a good idea if you against.
and second we will use it to create are going to use them for other
the door. things, but not necessary here. Create a cube and place it directly
Switch to front view, select the door behind the spline, see picture 11,
The axis now has a correct position spline and in the coordinates man- from the front view the spline must
to scale the spline, first switch back ager set the size field to scale fit into the cube. Select both the
to the Model Tool (Tools -> Model) again, set the Y scale to 0.90 and Cube and the door spline and select
and set the Z position of the spline the X scale also to 0.90 and hit the 'Project Spline across Surface'
to -206, this will move the spline a Apply. The more we downscale the tool (Structure -> Edit Spline ->
bit back into the door frame and this less perfect the spline will fit, so we Project...). You will get a window
way the bricks won't stick out when need to make a couple of point where you can select a projection
24
By Bram van Gerwen
field, select XY plane and hit OK. If

done correct the spline will be flat- move the Extrude NURBS object a
tened against the surface of the bit forward into the doorframe so
cube, the cube is no longer needed that it fits snugly, you can select the
and can be deleted. With no more rotate tool now and grab the green
artifacts on the door we can give it rotation handle to open the door or
some nice caps. change the H value by hand to open
it, I opened mine 78¼.
Select the Extrude NURBS object
and in the caps tab set the Start and
Tutorial
End field to Fillet Cap, change the You'll notice the door is a bit thick, in
radius of both caps to 1. Now select the extrude NURBS object options
the Object Axis tool and set its posi- change the last 20 value to 8 for a
tion values to X 42, Y -116 and Z - nice firm door.
202, this will place the Extrude That was it for part 2, you should
Nurbs object axis to the right of the now have a tower that looks like pic-
door and will be able to function as ture 12. More next month.
a door hinge when we rotate that
object, but depending on how far Have fun modeling, Bram
your cube was from your spline you
might want to grab the Z axis and
move it to corner of the door.
Switch back to the Model Tool and
25
Character Modeling - Part 2
By Mark Gmehling aka Macling
Hey there Attackers! In this second

part of my Newbie poly-by-poly
Character Modeling tutorial- I'll focus
on finishing the characters head by
adding an ear and neck to the head
and close the rest of the heads sur-
face.
As always I try to make all steps

easy to follow even for newbies or Bridge Tool(B) to connect the point points to polys PIC06/07. After that I
users/switchers of/from other 3D rows to polys PIC03/04- Switch your lift up the outer pointrows and lower
applications. I'm using C4D Rel.9, Hypernurbs on and off to get a
but you'll be able to follow even if clearer view.
you use an earlier version.
If you just want to follow this part
and didn't follow part one, notice
that I'm using the free easy-clone
plugin- available here:
http://www.spot4d.co.uk/plugins_eas
yclone.html. Just download it and
place it in your C4d plugin folder…A the pointrows at the symmetry axis
useful tool. to define the rounded shape of the
Tutorial
Remember that you can realign the neck- look at PIC08/09.

OK- lets go! I open the head I left in polygon direction by the Align
the past issue and switch to side- Polygons Command in the
view(F3) to define the chin profile Functions menu if you get black
and neck by adding ten points with lines on the new poly surfaces (in
the add new points tool- make sure earlier Cinema versions you find this
you selected the head object in the command in the structure menu).
object manager/you're in point mode
and you're holding the ctrl key while These lines are caused by wrong
clicking to add points- PIC01. Then I polygon normal direction which is
rectangle select the new created caused by bridging in a contraclock-
wise direction. I don't really care Now I go on to close the side of the
about the clockwise direction while head: I select the points shown in
bridging or creating new polygons- I PIC10 and easy-clone them and
use to realign the polys via the func- move them along the z-axis lining
tions menus align normals or
reverse normals command.
Ok- now I tweak the points by mov-

ing(E) the outer polyrow a little bit
points and easy-clone them two back and tweak single points to
times (Remember I always disable define a rounded chin shape and a
"only visible" in the rectangle selec- little fold below the mouth -PIC05.
tion tool attributes and use the live Now I easy-clone the outer point
selection for selecting only visible row two times again and move the up with the polyflow. Then I
areas) to move(E) them along the x- cloned point rows along the x-axis bridge(B) them to polys PIC11.Now I
axis lining up with the vertical mouth and back to the z-axis lining up with repeat the same procedure with the
poly flow- PIC02. Then I use the the mouth polyflow and bridge the points shown. Then I roughly
26
bridge them together. After that I

tweaked the points to prepare the
base of the ear -PIC16/17. Before I
go further I tweak the new vertical
polyrows to ensure a round head-
tweaked the polys as always- delete the two polys shown here-
PIC12/13 and focus on adding an PIC22 and create them again but
ear: with another edge direction-(I used
the Create new Polygons Tool in
Point mode- PIC22/23) to define the
shape from top view(F2) which ear "helix".
means I'm moving(E) the new ver-
tices slightly outward along the x-
axis- PIC18.
Tutorial
BLOCKING OUT THE EAR:
A realistic ear is one of the most dif- Now I live-select the eight polys
ficult tasks in organic modeling- I’ll shown in PIC24 and extrude them-
show you a way here to block it out PIC25. Once again I change the
of an existing head mesh on the Now I select the polys shown and
base of only a few polygons. I'm extrude them inner(I) one time and
going to prepare an area consisting shape the ear form basically out of
of eight polygons in the next steps these new points- PIC19/20. After
which will be the base of the ear. that I extrude the tweaked polys (D)
and then rotate(R ) them slightly in
I want to model it quite detailed, but
not photorealistic: Switched to side-
view(F3) I easy-clone the points
shown three times- each time mov- polyflow by deleting the two polys
ing them back in z-direction- shown in PIC26 and create them
PIC14/15- and as always paying with a flipped direction again(again
attention to line them up with the
other vertical polygon flow. Then
z-direction towards the front and

move(E) it slightly back in z-direc-
tion-PIC21.
Next step is extrude inner(I) one

more time, and now its going to be a
little bit tricky: I need to change the switched to point mode with the cre-
polyflow- to do that, so I have to ate polygon tool)- PIC27/28.
27
Back in polygon Mode I select the scale(T) them in a little bit. Then I inner(I) -move(E) them inward (scale
seven polys shown in PIC28 and tweak the bottom points to smooth in x-direction a little bit to flatten
extrude(D) them PIC29- after that I the result out a bit. them slightly) and adjust the points
tweak the new points slightly to cre- in Point mode to smooth out the
To define the so called triangular result of the extrusion- PIC41/42.
fossa I change the polyflow of the The last step to finalize the ear is
polys shown in PIC35 with the
known procedure- deleting in poly
mode and creating again with the
create poly tool in point mode-
PIC36.
Tutorial
ate points to define the inner ear

helix or so called "Antihelix"- look at
PIC30/31. the earhole/ the so called "meatus":
I select the poly shown -PIC43 and
extrude inner (I) them slightly and
move them inward and extrude(D)
I tweak the points and extrude

inner(I) these polys-PIC37-move
them slightly inward and scale(T)
them smaller in y-direction and after
that in x-direction to flatten them-
PIC38. Now I move(e) the points
And I change the polyflow a third
time-delete these polys-PIC32 and
create them with a flipped direction again- PIC44. Look at PIC45 to see
again- PIC33. Now I select these the extrude shape. OK- that should
(Pointmode) to smooth the "tri-

fossa" shape -PIC39.
Now I add the so called "concha"

eight polys shown in PIC34 and like this: selecting the six polys as be enough detail I think.
extrude(D) them inward and seen in PIC40 and again extrude You will notice: the most time con-
28
suming part is the point-tweaking. I

recommend you “google” a useful
"human ear" pic that will guide you
while point-tweaking. Before I go
further I select all ear polys with the
rectangle selection (with only visible
disabled in sideview(F3)) Be sure to
deselect (CTRL-select) the mouth
cavity polys you might have select-
ed too! I scale(T) move(E) and have to be tweaked to get a nicely in the back head area- I bridge(B)
rotate(R) the ear into right size and rounded shape. new polys as seen in PIC56- a quite
place- Look at PIC46/47.
After that I select the twelve points
shown in PIC52 and easy-clone
them one time, move them slightly
back in z-direction and scale the y-
axis smaller to bridge(B) them
together - PIC53. I use these points
to define the fold the jaw creates, so
dirty solution, but I'll fix that later.

Now I switch to sideview(F3) choose
Tutorial
CLOSING THE HEAD-SHAPE: the create new Points tool and ctrl-
click five new points.
Moving on I close the head shape
by easy-cloning pointrows several I easy-clone these points- PIC57
times and bridge them to polys. I four times and move them along the
start in sideview(F3) and select x-axis, paying attention to line up
these three points -PIC48- easy- I move(E) the still selected points with the vertical polyflow- PIC58- I
clone them five times- orienting at slightly inward in x-direction- PIC54. bridge the points and the back head
To go further in closing the head I is closed. It’s point tweaking time
select the points 15 shown in PIC55 again.
the horizontal polyflow to close the

cheek area with the Bridge Tool(B)-
look at PIC49. and easy-clone them- move them
back to line up with the horizontal Now I focus on the neck area.I
Then I select the two points shown - polyflow (…just scale(T), rotate(R) select the two points shown in
PIC50 and weld them- PIC51 and move(E) the cloned pointrow to PIC59 and weld (Functions-weld)
(Functions-Weld) together. (In earlier fit in the desired area) and bridge them- PIC60. Then I bridge(B) the
Cinema Versions you find this com- the new points to polys. You'll notice two faces shown in PIC61 to fill the
mand for example by clicking the v- that I tweaked the points in a weird gap- after that I select the points
key: a menu appears containing the manner- PIC55- I did this because I shown in PIC62 and weld them as
weld command.) Now the points want to reduce the number of polys before- the neck is closed too and
29
looks nice after some point-tweak-

ing.Take a look at PIC63/64 to see
Tutorial
where I did the last tweaks.

OK that's enough for this issue-
Next time I'll make some major
tweaks with the global head shape

(and the mouth )- I refine the mesh
a little bit and I'll add teeth and
begin the modeling of the torso
area. If you have questions, don't
hesitate to contact me via pm at 3d
attack.net. CU on board/ Keep on
ATTACKING!
30
Landscape Tutorial Part 2
By Georg Niedermeier aka Sad
After you have done this select the

sphere and the cylinder in your
Object Manager and group it by
clicking Objects -> Group. Double-
click the newly created Null-Object
and type the word Tree. Now you
have given a name to the new
object.
As promised, in the first part of our
landscape tutorial, we will now focus Let’s head over to creating some
on some details which we need in fields.
order to gain a realistic landscape:
Fields, Buildings and other stuff. Our two landscape objects are
We won't focus on a super realistic polygonal which allows us to select
environment, but on a realistic over- polygons and to use some very
all appearance. interesting modeling tools like
extrude, bevel and others. These Picture 29
First of all let's create some mini- tools come in very handy for our You might think that it could be
malistic trees: create a cylinder that project because any landscape will avoided by rotating the landscape
makes up our trunk and a simple look much better if it isn't just a along the y-axis, but this is not an
sphere to simulate foliage. green plane, but a patchwork of dif- appropriate solution, because if we
Don't make it too big because it has ferent colors and heights. do that we will lose the nice land-
Tutorial
to fit our landscape. The sphere of scape that we have created

our tree has a radius of about 31 Select the landscape object that sits Picture 30.
and 9 segments which makes it next to our camera and switch to
slightly lowpoly, but as I have said polygon mode. Zoom the selected
earlier, we don't aim for a super landscape so it fits our top viewport
realistic tree. The trunk of the tree is Picture 28.
made of the cylinder and has a
radius of 3 and a height of 40 units.
Because we will be using quite a
high number of trees in our scene,
we can save memory by giving it
only 1 Height Segment and approxi-
mately 10 Rotation Segments.
Picture 30
Sphere to the top of your trunk.
Make the tree to look like this one:
Picture 27 Chapter 7
Picture 28 There exists a little trick (actually it

Switch to Rectangle Selection. is one of the standard tools) that we
Picture 29 can use in order to get diagonal
polygons:
Paint a rectangle somewhere in your
top view. You will see some visual Deselect any polygons and chose
feedback within the 3-D viewport the Knife tool. If you are working
that doesn't look very good because with another version other than
it gives a straight line for our selec- Cinema 4d R9 you can use the tool
tion. This would ruin the natural as is. Users of C4D R9 need to
Picture 27 look that we are keen to create. make a setting to the tool before
31
using it: Uncheck the Create N-gons

option. Picture 31
Picture 32 Picture 34
Picture 31 And that's what's your 3-D viewport In order to be able to texture the
might look like: Picture 33 field, grow the selection via
Now it is time to make some free, Selection -> Grow Selection and
but rather diagonal cuts. The knife save it by clicking Set Selection in
tool creates new edges to those the Selection menu. The triangle on
polygons it touches. It is normal the right side of your landscape
that this method produces triangles, object in the object manager indi-
but it will not disturb us. cates that your selection has been
saved.
Once you're finished with the cuts,
Tutorial
choose the Polygonal Selection Now you can see if you have under-
Tool, activate the option Tolerant stood what I have shown you:
Selection and make a selection of
the newly created area. Activating Picture 33 Repeat that with the second land-
Tolerant Selection helps to select Please notice that both cuts can be scape object starting from the very
polygons, because normally poly- seen. beginning of Chapter 7. Activate the
gons are only selected if they are second landscape object by clicking
entirely surrounded by the rectangu- That the first selection from which it in the Object Manager. Use the
lar or polygonal selector. we are going to create a field. knife tool and make 2 parallel cuts
so it appears like a street. Try to
It is necessary that you make the Click the Extrude Tool or select it make sure that the selection can be
selection very carefully because we from the Structure menu. Click the seen in the 3-D viewport Picture 35.
don't want to produce a selection mouse button and move the mouse Invert the selection Picture 36.
that appears too edgy. Remember very, very little. Actually we don't
that you can add polygons to your want a normal extrusion because
selection by pressing the shift key. every polygon would be moved
If you want to deselect certain poly- along its polygon-normal which
gons just hit the Ctrl key while would create some very flower
selecting them. Don't worry if the power fields. You can try if you like,
selection has some edges. but please make sure to undo it
It doesn't matter too much. after you have seen what would
A polygonal selection will either be happen.
finished by clicking the starting point
again or by pressing the right mouse What we want is to have a field that
button after you have made at least grows straight up. So after you have Picture 35
two left clicks. Your top viewport made your very little extrusion click Make a very little extrusion and
should look something like this now: the green arrow in the center of the move it by clicking the green arrow.
Picture 32 selection and move it up. Picture 34 Grow the selection 1 time and save
32
name like pole Picture 40. In order

to finish the fence we need a bunch
of wooden planks. The easiest way
Picture 36 Picture 38
it again. Now we have created some

space for a street crossing the field.
Picture 37
Tutorial
Picture 37
Chapter 7
Adding More Details Picture 40
Let's create a fence that separates to create it is to use a cube and to

the field from the street. give it the shape we need. In top
view you can adjust the length,
Switch to top view and move it so while you have to use the left, right,
that the first landscape that we have frontal or back view in order to
created appears. Now select some manipulate the height of the planks
polygons that will make the poles of Picture 41.
our future fence. Try to make the Picture 39
selection as uniform as possible.
Picture 38 after that move it up along the y-
axis. Once you're satisfied with the
Make an inner extrusion. Make it as poles, grow and save the selection
far as it is needed to look like a real- because we want to be able to tex-
istic pole. Not too thick and not too ture the poles differently. Before you
thin, that is. Orientate on the size of save the new selection, make sure
your tree Picture 39. that the first selection isn't activated.
If it was it would be overwritten.
As we have done earlier with our Make a single click at the new
fields, make a tiny extrusion and selection tag and assign a new Picture 41
33
If you switch back to Perspective

View you will see how you have to
rotate the planks and how you have
to use them in order to model a nice
fence. If you need more planks just
copy the cube.
Because we don't want to create an

animation, it will be sufficient to only
model the fence where it will be
seen by the camera.
Picture 42a Picture 42c
Once you're finished, it should look
something like this Picture 42. The Attributes Manager shows three
subfunctions of the duplicate tool.
If you're wondering whether the tree Activate all three of them via click
that we have made earlier is too big dragging Picture 42b.
Tutorial
Picture 43
function of Cinema4d. Switch to the

Edge Tool and select the edges as
shown below Picture 44.
Picture 42b
Enter a number of your choice and

activate the Create Instances option.
Instances are copies of an object
that take over the settings of the
base object automatically. The base
object is the object that has been
Picture 42 active while executing the duplicate
function. The instances can be
compared to the fence, then you're found in the newly created
right. The tree needs to be scaled Tree_copies Null-Object. Picture 44
down a bit. Select the null-object
that contains the models of which Spread the trees over the entire Now you need to activate the Stitch
the tree is built and double-click its scene Picture 42c. and Sew function found in the
name. Rename it to Tree. Scale the Structure Menu Picture 45.
tree down to your likes and create You will have been noticing that the Now click at a and drag it to b.
several instances of it. edges of our fields are not straight Picture 46. The result will look like
and that they look as if they were this: Picture 47. Another example of
The function is to be found in built of blocks Picture 43. In order blocky structure can look similar to
Functions > Duplicate. to correct that you will have to fiddle this one: Picture 48.
Picture 42a around with the Stitch and Sew You can change that by stitching
34
That's how it should look like after

you have used the Stitch and Sew
Picture 48
Tutorial
Picture 45
Picture 49
function Picture 50. Don't relay too
much on my example pictures
because most of the time it won't
look exactly the same.
Picture 46
Picture 50
Play around with Stitch and Sew

until you are getting used to this
functionality of Cinema 4d. In our
Picture 47
next part we will create the sky,
some grass, and an agricultural
two edges together as you have building.
already done earlier Picture 49.
35
Emorpher: The Power of PLA Morphing
By Sebastien Florand aka Fluffy
Emorpher, developed by Santiago features will have changed or not be PLA keyframe that will define a state
Ramirez (aka Eaggo), is a wonderful available in previous versions. in the animation track, and as a
morphing tool whose sole purpose result, a morphing. In the popup,
is to deform a mesh. 1 - Emorpher : How it works you'll notice that a tab has been
http://www.eggington.net/~eago/ added, with a blank box and several
>> First of all, you'll need to tell buttons. In the blank text box, input
The big advantage of it compared to Emorpher which mesh to deform. a name for the morphing you want
other plugins and Posemixer, is that To do this, it needs a Null object that to create (here, I will name it "mouth
it doesn't need a copy of the mesh you will drop as a child of that mesh. closed"), and click on the left arrow.
for each morph, it smartly uses a So track down your object, and drop This creates a Null object in the
PLA (Point Level Animation) animat- a Null on it, as a child. Name that object manager, that will be used as
ed track that will define the different Null Object, with a unique name a slider to drive that specific morph-
states, and morph these tracks (here, I name it "Emorpher" - and ing. That Null object is named exact-
together using sliders. No more use numbers after it if I have several ly as defined in the blank text box.
heavy meshes to duplicate. No characters). [pic4]
more keeping track of tens of [pic2]
copies. The only thing that
Emorpher can't do, is to morph bone
hierarchy, but Posemixer does this
really well, so no problem.
First, we'll need a model to work

Tutorial
with. As it happens, MrBurp here

Picture 2
has not left for his Hawaiian vaca-
tions yet, so I'll keep using him for >> Right-click on the Null object,
this tutorial [pic1]. and you should have the Emorpher
function listed at the main level.
Select it and it will create an
Picture 4
Emorpher tag on the Null object.
By doing this, the plugin automati- >> You can now start to edit your
cally sets up the default state of mesh and create your morphs.
your morphing, by creating a As I named my morph "mouth
keyframe in the PLA track of the closed", then I will close the mouth,
object (we'll go check that later on in using point mode or polygone mode.
the tutorial), and pops up a window I won't cover that part in detail, but
directly in "edit" mode (notice the here is the shape I will use as
checked "Edit" radio box). The Edit morph state. Once happy with your
mode allows you to modify the mesh modeling, click the "refresh" button
and record your changes [pic3]. on the Emorpher popup.
This will refresh the state of that

specific morph, based on how look
your current mesh. The "refresh"
button will help you redefine the
state of the morph whenever you
Picture 3 want make changes. It will refresh
The basic mesh is a simple, low res- that specific state with whatever cur-
olution object dropped into a >> Next, you need to create a rent deformation you have applied
Hypernurb. In this tutorial, I will be morph state. Click on the "Add tar- to the mesh at the moment you hit
using Cinema4D R9, so some of the get" button. This creates a second the button. [pic5]
36
same number of points on the other axis, on a value between 0 and 100
side. If not, you'll have to set your (of whatever unit you are using).
mirror poses independently. To These Null objects are nice, but not
make sure that the pose is correctly really straightforward to use during
mirrored, a neat function is avail- the animation stage, so we will
able, which is the "Test" button. This setup a simple system via Xpresso
function allows you to check the to link them to sliders that will
morph directly in edit mode, and see appear in the viewport, for easier
what's inside a morph. [pic7] use. If you move the Null objects,
you'll notice that they act as sliders.
>> create a Null object, name it

"morphings" and drop all your morph
Nulls as a child of it [pic8].
Picture 5
>> Next, we'll create another pose.
Click the "Reset" button to reset
Picture 7
your mesh at the default shape (the
way it was when you applied the >> In addition to the "Mirror" func-
Emorpher tag on the Null object), tion, you will find the "Form object"
and click the "Add target" button to function, which allows you to make
create another morph state. a copy of the current state to start
Tutorial
your morphs from that position if you

Name that morph, and click the left wish.
arrow to create a Null object that will
be used as slider. >> Create as many poses as you
need and uncheck the "Edit" button
In my example, I will create a "sur- once you are ready to use the slider
prised" state (which consist of a sim- system. Note that you can come
ple raised brow) to show you the back anytime on "Edit" mode by
use of mirroring poses. Once satis- simply double-clicking the Emorpher
fied with the morphing, click the tag to open the Emorpher popup
Picture 8
"refresh" button to make sure it is and checking the "Edit" radio box
applied to that morph [pic6]. once again. Click the "Test" button >> Next, we will create our own slid-
to come back to a specific state, ers system by creating User Data
tweak your morph and hit the entries. Select the "Morphings" Null
"Refresh" button to save the object, and in the attributes manag-
changes on a specific state. er, go into the menu "User Data >
You can also create new ones at Add User Data". In the User Data
will, whenever you want. window, name the entry as your first
morph (here "mouth closed"), set
Picture 6 We are done with the creation of the interface type to "float slider",
morph targets. We will now see how Unit to "real" and changed the maxi-
>> Now, we will mirror our to actually use these morphs. mum value to 100. This will map the
"surpriseL" pose by clicking the User Data entry to the Null slider
"Mirror" button next to that state. 2 - Sliders system movements [pic9].
This action will create a new mir-
rored morph on the character. Make Emorpher's morphings are driven by >> Repeat the process for your
sur the character is symmetrical Null objects, whose movements are other morphing states. You should
before doing this, or at least has the automatically restricted to the X now have 3 User Data sliders that
37
>> Now, we will link these User Data the "coordinates > position" menu.
entries to our different Null objects [pic13]
using Xpresso. Apply an Xpresso
tag to the "morphings" Null object by
right-clicking on it and selecting "cin-
ema4D tags > Xpresso".
>> In the Xpresso editor, drop the

"Morphings" Null and all you morph
Null objects [pic11].
Picture 13
>> Link each User Data entry to the

matching Null morph node (it is fairly
important to name things properly if
you want to identify them better).
[pic14]
Tutorial
Picture 14
Picture 11
>> In the Xpresso editor, click on >> You can now close the Xpresso
the red square at the top right cor- editor window and check if the User
ner of the "Morphings" node, and Data sliders work properly by drag-
Picture 9
select all the morphs in the "object ging some of them. You'll notice that
appear in the attribute manager properties" menu [pic12]. the value of the User Data is used
when you click on the Null object to input the value of the X position
"morphings" (if you make a mistake for each Null, thus moving them
while creating the User Data entry, properly from 0 to 100 (as we set
you can edit them anytime by right- them up earlier) on the X position
clicking on the name of the entry and allowing them in turn to drive
and choose "Edit Entry" from the our different morphs.
drop-down menu) [pic10]. Finally, our system is in place and
working, allowing us not to go inside
and lose ourselves the hierarchy by
placing everything together at the
same spot. This little time we spent
setting that up will save us a lot of
time when animating. But we can
Picture 12 make the system better yet by put-
ting all these controls directly in the
>> Next, click on the top left blue viewports, so as to not go into the
square of the Morphs Null nodes object manager at all. Let's check it
Picture 10 and select the "Position X" value in out.
38
>> select the "Morphings" Null the viewport (it doesn't matter if you track, since you shouldn't have
objects, and select all your morphs move the Null morph controls with it, begun animating yet. In my exam-
entries (adding to the selection but if you don't want to, press the ple, I have two more tracks animat-
using the Shift key). "Ctrl" key and drag the "Morphings" ed [pic18].
Null to affect only that object and not
>> Right-click on one of the entries, its children [pic17].
and select "Add to the HUD" func-
tion [pic15].
Picture 18
>> Select the "emorpher" track by

clicking on its name, then send it to
Picture 15 Picture 17 another layer using the "layer >
Color selection > layer 7" menu.
>> Notice that all the entries we You have now a Null object that you Your track keyframes should turn
selected now appear in the view- can select in the viewport and that the color of the layer you send them
Tutorial
port. Maintain the "Ctrl" key and will display the morphs controls on (green in my example).
drag the HUD element on the top directly into the HUD, allowing you
left side of the viewport, as to not to have every needed controls at Then, lock the layer by clicking on
have it in the way. hand, without losing time by opening the little lock icon under that layer's
the hierarchy and looking for your color box.
>> Finally, select the "Morphings" morphs states.
Null object and make it display a Every keyframe is now locked into
selectable shape by going into the 3 - Protecting your painstaking that specific green layer and I won't
Attribute manager and changing its work be able to either select them or
display shape to "diamond" in the erase them by mistake. I also can
"Object" tab. Increase the radius as Last thing, we will make sure that mask the layer and hide the "emor-
needed to be conformable. You can we won't erase by mistake any of pher" track if I wish to really keep
also change the color of the dis- the hard work we've done by creat- that track out of my mind.
played diamond if it is easier to ing these morph states. [pic19][pic20]
identify for you [pic16].
As I explained at the beginning,
Emorpher uses PLA tracks to create
the morphings. These tracks contain
keyframes that can be selected and
erased if you don't pay attention to
it. Our last step will then be to lock
these keyframes in place and make
sure we don't do something foolish.
>> open the timeline and select "fil- Picture 19

Picture 16 ter > show animated objects" to dis-
>> Move the Null Object wherever play all animated tracks in the time- This step is really worth the little
you will be able to select it easily in line. Here, you should only have one extra time, when you face what
39
would happen if you messed up :

I hope you'll enjoy that plugin as
much as I do, and I hope you
enjoyed this tutorial. As usual, if
you encounter any problem, don't
hesitate to contact me on the 3D
Attack forum, I will gladly help you.
Cheers,
Fluffy
Picture 20
Tutorial
That's it, we are finished, you can

now animate freely without worrying
about anything except your art.
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ChristianDesigns.org
40
Clothilde Drapes!
By Jamie Hamel-Smith
Ever wanted to have the curtains in Segments, and 15 Height Segments. Now it's time to set up the Cloth,
your architectural animation billow in We do not need as many height Select your "Pole" and "Curtain"
the wind? Or have some nicely tied segments as width segments for this objects, and choose "Make Editable"
drapes to compliment your interior exercise. Rename the plane and call from the "Functions" menu, or use
layout? This month I am going to it "curtain." Its width should be about the default keyboard shortcut "c".
show you how to make the process 500, and its height should be about Clothlide will only work with polygon
simple and painless. 600. Don't worry that the curtain is objects, so we have to make them
longer than the pole, we will fix that editable before we can start working
We are going to start with some bil- later. (Image 02) Position it as you with the Cloth Tags. Right Click
lowing curtains. Firstly, we need (cmd Click on Macintosh) the
something to hang the curtains from. Curtain object and select Clothlide
Create a Cylinder Primitive, oriented Tags > Cloth A "Cloth Tag" icon will
on the X-Axis, with the following set- appear next to the object, and this is
tings; (Image 01). where we will adjust all of our set-
tings for the behavior of the cloth
object.
Now, if we create a cloth object and

just hit play, the cloth would fall into
the endless abyss of Cinema 4D.
We have to fix certain points of the
cloth so that it hangs from these
Tutorial
"Fixed" points. With the "Curtain"

object selected, choose the points
tool (Image 04) and select some
Image 02
like, so that it looks like it is hanging

from the "Pole" object. (Image 03)
Image 01
Position it in your file as the pole

that the curtain will hang from. Also, Image 04
rename the object and call it "pole"
The next step is to create the actual points at the top of the curtain
piece of cloth that will hang from the object. Try to select every 3rd point;
pole. One of the things to remember this will give the look of the curtain
about using cloth in a 3D program is being fixed to the pole at certain
that the cloth will look better if it has points along its length. (Image 05)
more subdivisions (width and height With those points selected, select
segments). the Cloth Tag and go to the
"Dresser" page. Click the "Set" but-
However, it will also take longer to ton next to "Fix Points" (Image 06).
calculate the simulation. We will try The points that were selected
to strike a nice balance between the should turn bright pink. They are
two. Start by creating a Plane now "Fixed." Go to the "Animation"
Primitive and setting the orientation menu and select Frame Rate > All
Image 03
to the Z-Axis. We will use 35 Width frames, if it is not already selected.
41
Clothilde Drapes!
that it fits the length of the Pole. testing, you may want to go to your
(Image 07) Hit the play button project settings and change the
duration to something over 10 sec-
onds or 300 frames) Tweaking the
settings in this tab will yield some
interesting results, especially the
"Wind Turbulence" value. Another
great tip to increase the realism of
the wind blowing is to animate the
wind strength.
Image 05 Making your Curtain Object a child

of a "Cloth Nurbs" object can also
give you some more options to play
Image 07 with, such as the Subdivision option,
which works similarly to the
again, the cloth should whip and HyperNURBS object and there is
bounce a bit as it readjusts to its also the thickness option. You can
new fixed points positions. Hit the find this object under Plugins >
stop button, go to the Cloth Tag and Clothlide > Cloth Nurbs. Save and
select the Dresser Page, next to the close your "Curtain Blowing" file.
"Relax" button, enter 90 in the steps (Image 08)
Tutorial
field.
Hit the Relax button, and watch the

cloth as it relaxes into its new state.
If the cloth still seems like it needs
to relax a bit more and come to rest,
simply hit the relax button again.
Now we have folds in our drapes.
You may notice some sharp creases
Image 06
in the curtain near the top; these are
Click the play button and you should a result of the Phong Tag's angle
see the cloth relax a bit. Stop the limit.
playback, and save your file, call it
Image 08
"Curtain Set Up." Then go to the File To remedy this, simply select the
menu and choose "Save As", we are Phong Tag for the Curtain, and des- Now we can open the "Curtain
going to work in a new file from this elect the "Angle Limit" check box. Setup" file that we saved earlier and
point on, because we want to come This would be a good time to go do something a little different with
back to this step later on. Save the back to the cloth tag, and under the the Curtain Setup.
new file as "Cloth Blowing." In the dresser page, click the Set button to
Title Bar of Cinema 4D it should the right of "Init State". This will set When you open the file, if you set
now say the name of your new file, the relaxed curtain, with folds and the time slider all the way back to
and your Curtain Setup file should all, as the initial state of the cloth zero, the curtain object should still
now be saved safely on your hard object. look like the plane that it started out
drive. as. We are now going to explore
Now we are going to play around another part of the Cloth Tag's set-
Select the Model Tool, and then with the "Forces" page of the cloth tings, the "Belt" option. Belting
select the Scale Tool, scale the cloth tag. Simply set the wind strength to allows you to attach parts of the
object on the X-Axis, resizing it so 1, and hit play. (For this part of the cloth to other objects. We will start
42
Clothilde Drapes!
by creating a cube, with the follow- onto the Tie object. To do this we stable and relaxed state. Your file
ing dimensions, X=600, Y=20, Z=10. must select the Curtain's Cloth tag should now look like this; (Image
After adjusting the dimensions, set and select the Dresser Page once 12)
the Segments X to 20. Position the again, and drag the Tie object from
cube so that it is about ¾ ways the Object Manager into the space
down the curtain. Your scene should that says "Belt on:" The next step is
now look like the one in the follow- to select the points on the Curtain
ing image; (Image 09) object that are the closest to the Tie
object (Image 11)
Image 12
Image 11
The next step is to animate the
We can now click the "Set" button parameters of the Wrap Object so
next to "Belt Points" and you should that it "Curls Up" and takes the cur-
Tutorial
see some yellow lines going from tain along for the ride. Turn on
the points to the nearest polygons to Automatic Keyframinig and activate
Image 09 them. This shows which points are the Parameter Icon (Image 13) then
Make the cube editable, ("c" Key) belted to which polygons.
and rename it "Tie" Create a "Wrap
Deformer" Use the "Transfer Now would be a nice time to go to
Function" to send the wrap deformer File > Save As and save the file as
Image 13
to the same coordinates as the "Curtain Tied"
"Tie." Enter the following values into set the time slider to 4 seconds, and
the Wrap Deformer and make the Next step is to hit the play button adjust the Tension and Width
wrap deformer a child of the Tie and see the effects of the belting. Parameters of the Wrap deformer as
object.(Image 10) You should see the cloth relax much shown; (Image 14) Return the time
like in the first part of the tutorial, slider to zero and turn off Automatic
except that the "belted points"
should stay put.
Similarly to the first part of the tutori-

al, you should press play, then stop,
followed by scaling the object (with
the Model tool) on the X-Axis until
the top of the curtain fits the length
of the pole. After the Scaling, press
play again, and see it jump and
whip around as it readjusts to its
Image 10 new "Fixed Positions." Press stop
and use the Relax button in the
Everything is now set up. We can Cloth Tag on the Dresser Page to
now "Belt" the points of the curtain allow the curtain to return to a more Image 14
43
Clothilde Drapes!
Keyframing. When you playback the

animation, the wrap deformer should
curl the cloth up into a bunch at the
center of the "Tie" object. And give
you something similar to this;
(Image 15) you can now make the
Tutorial
Image 15
"Tie" object a child of a

HyperNURBS object to smooth it
and also make the "Curtain" object a
child of a Cloth Nurbs object and it
will look much smoother. You should
also delete the Cloth Tag if you are
pleased with the result and would
like to keep the cloth still. (Image
16) Image 16
44
Fireworks with Thinking Particles!
By Bjoern Marl aka “Srek”
In this tutorial I will show you how to matrix which in turn is used to align
create a Thinking Particles setup to the trail particle emitter. This way
generate a firework with several the trail particles move in the oppo-
rockets and different explosions. site direction then the rocket. This
The main thing behind a firework has to be done throughout the life-
with particles is spawning. Spawning time of the rocket, so it is not suffi-
is the process of new particles being dent to do this on emission. PPass
created based on an older particle. set to the rocket particle group does
In this tutorial it is used for two the trick here. <Image04>
things. The smoke or fire trail of the
rocket. The sparks created by the
explosives
Both are pretty different. The trail is

Image 04
created continuously throughout the Image 01
flight of the rocket while the sparks Since in reality the trail consists of
are only created at one point in very lightweight particles they are
time, when the rocket explodes. strongly influenced by air friction.
Also, the trail particles will move in You can use PFriction for this and
the opposite direction as the rocket limit it to the trail by using the Trail
while becoming slower, whereas the particle group for PPass <Image05>
sparks can move in any direction
Tutorial
you want.
Image 05
In this example we will create all
elements of the firework as particles: The sparks, as well as the trail, are
rockets, trails and sparks. made of visible lights with no illumi-
Additionally, to the main text of this nation. Lens effects can be used
tutorial you will find a good number too.
of remarks within the Xpresso setup.
The sparks are created at the
The scene itself is rather simple and moment the rocket particle dies.
only consists of the visible lights This can be determined by the PAge
which are used as particle shapes, node. It allows to detect a number of
the particle geometry object to make events related on the particles age
them visible and some Nullobjects to or a change of group.
control things like gravity direction
and to host the main Xpresso With Type set to Die the node will
expression that does all the work. give us a boolean True value on the
<Image01> Image 02 frame the particle dies. This triggers
To differentiate between the rockets, a PStorm node set to Shot which
the trail and the sparks different par- produces the stars. By using the
ticle groups are used. rockets position for the PStorm node
<Image02> the sparks are generated at the
Image 03
All particles are subject to gravity position of the rocket.
influence. By using the parent group PStorm and a Nullobject (Launcher) <Image06>
"All" for Ppass you can address all for positioning and alignment. The
particles in all groups at the same only thing special on this emitter Since a real firework usually has
time <Image03>. setup is the inversion of the rocket several types of rockets it's only log-
The rocket emitter is based on velocity that is used to create a ical to build a setup that can create
45
Fireworks with Thinking Particles!
By Bjoern Marl aka “Srek”
Image 06
more than one type. By using a ran- should be created <Image07>

dom value this setup creates two <Image08>
types of sparks. The random node is
fed the Random Seed value that
comes with every particle. This
ensures that the generation of ran-
dom numbers is repeatable. In the
example the nodes related to
Tutorial
boolean operations are minimized to

save screen realestate. The logic
behind this is rather simple. The
random node creates either a true
or false value. A true value should
create a spark of the Spark1 type Image 07
while a false value should create a
Turbulent Spark. It goes like this:
IF Rocket dies AND Random is
TRUE THEN create Spark1.
IF Rocket dies AND Random is NOT
TRUE THEN create Turbulent
Spark.
You can vary the way the sparks are

emitted with the parameters of the
PStorm nodes. In this example the
Spark1 sparks are emitted spherical- Image 08
ly while the Turbulent Sparks are
emitted in the direction of flight. This If you have questions or problems
is done by aligning the spark emitter regarding this tutorial then please
to a matrix calculated from the rock- feel free to post on our forum at:
ets velocity.
http://www.3d attack.net
If you want to create more then two
types of sparks the Condition node See you
and a random integer value are a
good option to select which shape Bjoern Marl aka “Srek”
46
Prize Fight Round 2 Winners!
By Tavy Ann
On November 17, 2004 MAXON

and 3D Attack presented Round 2 of
"THE PRIZE FIGHT". The "PRIZE
FIGHT" is a 3 Round competition
where our entrants battle it out in
drawing, modeling and animating an
Olympic character of their choice.
In December we brought you the
results from Round 1 and our 5 win-
ning entries. This month it's time to
take a look at our winners from
Round 2, the modeling Round.
Each entrant had to model, in CINE-

MA 4D, the Olympic Character they
drew in Round 1. The two top mod-
PRIZE FIGHT ROUND 2
els were to win the CINEMA 4D R9

XL Bundle, but because the models
were so well done, MAXON and 3D
Attack had a very difficult time pick-
ing just two and closed Round 2
with 10 winning entries. All of the
winning models were created in
MAXON's CINEMA 4D.
All 10 of or our winning entries from

Round 2 will be advancing to Round
3, the animating Round. They will
fully rig and animate their Olympic
Character from Round 2 using the
tools in CINEMA 4D's MOCCA mod-
ule for a chance to win the CINEMA
4D R9 Studio Bundle and a trip to
SIGGRAPH 2005, in Los Angeles -
California.
Be sure to keep following our

entrants in Round 3 on our forum at
www.3d attack.net. Not only will
this be an exciting Round, but an
educational one as well.
Our Round 2 winners are:

Oliver Wuensch, Floris Drupsteen,
Rogerio Lima, Mac Andre,
Alexander D. Remizov, Sergio
Garces, Juergen Jaekel, Mark
Gmehling, Antoine Aurety and
Sebastien Florand.
3
By Tavy Ann
PRIZE FIGHT ROUND 2
Sebastien Florand (Fluffy)
3
By Tavy Ann
PRIZE FIGHT ROUND 2
3
Best of CINEMA 4D
Some of the best artists around the world using CINEMA 4D
Image: Just Do It, Nike Sneaker Artist Comments: What can I say, luv Nike, luv computer
Artist: Sven Kallinich (nutriman) graphics... here's the result ;-). People have been asking
Country: Germany me if I did the seams by texturing. Nope, they're modeled
Website: www.realiez.de by having splines projected on to the shoe and a lot of low
Date created: January 21, 2005 poly instances of one hole and a piece of thread which are
Software: CINEMA 4D R8 aligned to these splines.Next challenge would be a pic of
these kicks the way they look now....worn out, dirty - say
hi to the bodypaint manual :-)
The Nike Logo is Trademark of Nike, Inc
3
Image: Ferrari 250 GTOl Artist Comments: The hardest part was the shader work.
Artist: Zoltan Sostai
Country: Hungary
Website: http://supremacy.zenesznet.com
Date created: December 2004
Software: CINEMA 4D R9, Paint Shop Pro 7
3
Image: "Junk" Artist Comments: I started this little guy a while back, but
Artist: Jacob Saariaho (Cpt.Jack) I got bored and moved on. Months later, I was cleaning up
Country: USA my hard drive when I opened his file and saw this unfin-
Website: www.cptjack.net ished head and torso looking out at me. It was hilarious,
Date created: October 20, 2004 he looked so pathetic and forgotten. I knew I had to finish
Software: CINEMA 4D him.
3
Image: Milan Condominium Artist Comments: Interior view of the living and dining
Artist: J.Carlos Pérez Ponce spaces of a condominium located in Milan street,
Country: México Monterrey México.
Website: www.infograficagdl.com
Date created: September 04
Software: CINEMA 4D
3
Image: Pussy Gatto Artist Comments: I found a great use for lights....don't use
Artist: Ben Jerrems them! This image was created by using the Luminance
Country: Australia channel on all the textures. Giving it that flat 2d "toon
Website: look". Image inspired by the late "great" Eyvind Earl, an
http://www.renderosity.com/gallery.ez?ByArtist=Y&Artist amazing Disney artist.
=Beanzvision
Date created: September 2004
Software: CINEMA 4D XL7
3
Editor’s Notes
Hello there Readers and or article, or have your software or Friends of 3D Attack™
Attackers! plug-in reviewed by 3D Attack,
please click on the following link for www.doschdesign.com
We just wanted to take the time to instructions: http://3d attack.net/3d www.maxon.net
thank all of our forum members and Attack/viewtopic.php?t=1405 www.3duser.com.tw
readers for all of your wonderful www.3dtotal.com
support. With out your participation All submissions must be e-mailed to www.cgtalk.com
on the forum and the feedback you Attention: Tank at www.c4dcafe.com
give on the magazine, we wouldn’t 3d attack@3d attack.net www.cinema4duser.com
be able to bring you every thing we www.cactus3d.com
do each month. CINEMA 4D R9 For Sale www.3dfluff.com
www.spot4d.co.uk
Once again, thanks for the support If you are interested in purchasing a www.3darena.de
and dedication. never used, unopened copy of CIN- www.frenchcinema4d.com
EMA 4D R9 Studio Bundle for a very www.sadbatu.de
Best Regards, reasonable price, contact Georg www.C4dHotline.it
Niedermeier at sad@3d attack.net. www.peXel.de
The 3D Attack Team Only serious inquiries need apply. www.cgchannel.com
www.c4dmodelshop.com
RSS Feed on the Forum Advertising with 3D Attack www.black-graphics.de
www.tarabella.it/C4d/
Our new forum also has a nice new If you would like to advertise with www.sharbor.com
feature: RSS - Really Simple 3D Attack send us an e-mail www.planit3d.com
Syndication. This actually means requesting our media kit and rate www.cartesiuscreations.com
that you can get the latest posts card. 3d attack@3d attack.net www.c4d.allplanforum.com
without even visiting our forum. You www.renderosity.com
can simply get it via mail or a RSS Attack of the HORRIFIC BLOB www.designerinaction.de
news reader, so you will always be Be looking for the Attack of the www.3dweave.com
up to date on things. RSS is actually HORRIFIC BLOB Part 2 in the April www.scifi-meshes.com
still pretty new on the web, but it’s issue of 3D Attack - The CINEMA www.ambientlight.co.uk
growing rapidly and more and more 4D Magazine. www.bubbles4d.com
sites are using it. We wanted to www.mediaworks.fr
jump on the train and bring you this Dosch Design www.3dlinks.com
great feature. To find out how to www.cgchina.com
enable RSS check here: Be sure to visit our friends at Dosch www.c4dzone.com
http://3d Design www.doschdesign.com. www.c4d-pl.org
attack.net/forum/showthread.php?t= Check out their wide selection of
1326 innovative and easy to use comput- *3D Attack the CINEMA4D Magazine and all
er graphics products. material contained therein are copyright protect-
THE MAGAZINE ON CD ed. You may not disassemble or distribute any
Tutorials part of this publication without prior written con-
Be sure to visit the 3D Attack shop sent from 3D Attack directly. Any attempts to do
and check out our new Magazine If you have questions concerning a so will be prosecuted to the fullest extent of the
Collection on CD. 8 complete specific tutorial or want to show us a law as it applies in Michigan, USA. This applies
issues and extra Goodies on one tutorial you have completed, feel for both 3D Attack material as well as any
CD! http://www.3d attack.net/shop/ free to post your questions and work named artist contained in its publications.
on our C4D discussion forums at Although we read through all the tutorials and
Tutorial and Article Submissions www.3d attack.net. proof-read them for errors we cannot guarantee
that they are 100% error-free and therefore can-
If you would like to submit a tutorial not issue refunds based on those errors.
55
Keep on attacking...
By Sir Gong
56
57

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Volume 02 Issue 03

March 2005 | $3.99

HIGHLIGHTS IN THIS ISSUE:

MAXON GERMANY CEO

Interview with MAXON Germany CEO,

Read the interview with the popular

“THE PRIZE FIGHT”

© Mark Gmehling 2005

PAGE 4-6 Interview with Harald Egel by Tavy Ann

PAGE 8-9 3D Fluff Volume 2 Review by Mark Gmehling

PAGE 10-13 Simple IK and Reverse Foot Rig by Sebastien Florand

PAGE 15-18 Interview with Bernardo Barbi by Tavy Ann

PAGE 19-20 Plugin Review - Structure - by Gary Zullo

PAGE 21-25 Basic Modeling - Lookout Tower P2 by Bram van Gerwen

PAGE 26-30 Character Modeling Part 2 by Mark Gmehling

PAGE 31-35 Landscape Tutorial Part 2 by Georg Niedermeier

PAGE 36-40 Emorpher: Power of PLA Morphing by Sebastien Florand

PAGE 41-44 Clothilde Drapes by Jamie Hamel-Smith

PAGE 45-46 Fireworks with Thinking Particles by Bjoern Marl “Srek”

PAGE 47-49 “THE PRIZE FIGHT” Round 2 by Tavy Ann

PAGE 50-54 Best of CINEMA 4D Gallery

PAGE 55 Editors Notes

PAGE 56 ATTACK TOONS by Sir Gong

PAGE 57 The 3D Attack Team

design applications. Would you MAXON products before, joined the

as possible, and so our key devel-

Besides that, connectivity is very

into the next releases depends to

tic customer service.

Harald Egel: It is our company phi-

They are even busy after hours as

Tavy: Once again, thank you for

Please feel free to leave our readers

3D FLUFF TRAINING FOR CINE-

In volume two Janine Pauke is

The Dvd comes along with about

The video tutorials are divided into

1. The main radiosity setup

antialiasing and GI accuracy set-

Finally , there is some photoshop-

Compare the rendering time of lower

The photoshop tweaks (video ten

1 - In this exercise, we'll learn how

create a new bone, so just adjust it

Root Goal and Tip Goal using the

Everything else now is mostly up to

shape or a spline, if you like to have

>> Move the "Foot Control" object at

controlled by the "footL root Goal"

You may remember that we earlier Image 21

3D Guru Vol 2 and a MAXON Polo Shirt

Question: CINEMA 4D is used in many industries. Which are mentioned in the

Tavy: Bernardo, thanks so much

Bernardo: My name is Bernardo

Barbi. I am Brazilian, 27 years old,

Bernardo: All my work begins with

Tavy: Of all your works what are

you the most proud of?