CINEMA 4D R9 (your favour new features)


#1

ever no enought touch up r9, but just show my favour and why

  1. SPD ( fast render & easy use )
  2. HUD ( like its name useful )
  3. many new modeling features ( what the next maxon can do )
  4. new display mode ( like gouroung shading line )

#2

Sub Poly Displacement…

Damn, it’s fast! :smiley:

1:24 on my 1.25 Ghz Powerbook G4


#3

SPD without a doubt, it’s definitely going to be changing the way I do things at the moment, I tried the demo of R9 last night with zbrush and the two apps compliment each other perfectly


#4

woooooow!!!

let me do a little off topic, wave surface if worderful!! can you share it?.. if you can


#5

SPD is fast, on the surface, but for close in photoreal work it’s slow as hell. i’ve been doing vray style grass texturing this morning. looks great from a far distance (like those images posted up here), but to get it realistic and in close you really need to bump up the settings which slow things down drastically. i’ve been optomising stuff too and im on a dual xeon.


#6

I think you could speed up things by combining it with proximity detection (Xpresso): closer to the camera gives a higher detail setting, farther away gives a lower setting. Of course you would have to split your surface up in patches, so it would take a bit of preparation and some testing as well. Just an idea, of course.


#7

I tool like the SPD and having the view ports named (perspective, top, right, front)


#8

couple of examples of spd. rendererd in about 30 seconds each.


#9

not sure if somebody noticed this … pressing SHIFT+V and you can rename the view in AM …

cheers
tilo


#10

Well… I did eventually close the document… But I can try to remember it right…

The water was actually 11 planes stacked on top of each other. The top one was only the transparency, reflection, bump, and specularity channels. Transparency with an IoR of 1.33 with fresnel on. Simple water surface in the bump channel. Specularity set approximately like this:

The rest of the planes have just colour (set to whatever colour you want the water to be) and a transparency of about 96 or 97%. That will effectively fake the murkyness of the water as you go deeper.

I put another material on the top plane for the foam. First, I hand painted on a vertex map at the edges where the water meets the wall. Then I set the alpha of the material to use the layers set up like so:

You need to turn of the ‘Image Alpha’ deal and turn on ‘invert’ for the alpha to work.
Set the colour of the material to a copy of the noise in the alpha, set to white and a light blue. The specularity is set very diffused…

I think that’s it… :shrug:

Good Luck!

MiKEY


#11

The two new features for me. MicroDisplacement and Cloth, together, the posibilities are endless.


#12

You’ll get the exact same look easier if you use one slightly flattened cube instead of 11 planes for the water, give it reflection, transparency and water bump (e.g. wavy cell noise) then switch on subsurface scattering and set it to go from dark blue to light blue (or a similar gradient with tones of grey). The foam you painted in manually at the edges will happen automatically with sub surface scattering where it intersects the landscape. another advantage of sss - things like trees in the landscape will throw volume shadows in the water, and if you look at the watermass from a sideview it’ll really look like things are underwater and there is a clearly defined surface. (sss is supposed to be for skin & wax, but does volume water and ice very nicely as well if you use the right transparency and wavy noise settings)

:thumbsup:


#13

Question: Where do you place the subsurface scattering? :stuck_out_tongue:

MiKEY


#14

…er, in the water, unless you want to place is somewhere else. :smiley:

if it was a serious question, enable the luminance channel of the material, pick ‘subsurface scattering’ for the luminance channel, and make a gradient in the sss controls going from dark->light shade from left to right. its best to give the lighter shades some range and give the darker ones less space in the gradient. with water you can set the sss sample depth lower than usual, because its not a solid and other channels like surface bump, reflection, refraction will mask some of the grain that comes with sampling lower. if it looks too much like ice, up the transparency (sss sort of works against transparency by giving the material more of a volume glow and making it somewhat cloudy).

I just did a test in R9 demo with sss pool water. put some volume lights inside the sss cube to simulate pool lights, and it looks quite convincing. if the camera goes underwater, you can get more sense of depth by enabling the fog channel of the material and making it cloud a bit over a distance.


#15

I’ve been playing with SPD, and it looks like the displacement doesn’t appear on a Floor object. I know it’s not technically a polygon (what exactly is it then?) but most other shaders seem to work with it. Is this a limitation of SPD, or am I doing something wrong?

Jack


#16

Ran into a similar limitation, and my guess is that it happens because floors are infinite planes, even if they do eventually render as polygons (well presumably they do). Its probably quite easy to do texture tiling for an infinite plane, and C4D does it, but SPD isn’t a texture, its more of a blueprint for creating new subgeometry on a given surface. Unless there’s a clever way to tile once created SPD values like a texture, you’re trying to generate displacement for a surface that is infinite… :smiley: [end of tech speculation]


#17

Plus:
new setupIK and IK/fk blending


#18

Middle mouse button
HUD
Cloth
modeling tools


#19

Mocca2 ALL:)
the rotation gizmo
hud
spd
bevel
loop cut
loop selection
iso editing
new AM (no active tool manager)
tweak

mike


#20

My favorite feature of R9 is R9 and the new direction…thanks Maxon! :love: