IMHO This is the best sculpting tutorial I’ve seen. Finally I understand how it all works. You’re on a roll Mash, keep 'em coming!
I was just using the sculpting tool yesterday–but not for sculpting. Some of the tools are surprisingly beneficial in standard low-poly modeling scenarios.
Benefits for sculpting tools in low-poly scenarios:
-Quickly pull and push meshes around without bothering to select anything.
-With a soft brush one can move things around and maintain good topology
As for sculpting in c4d…It’s certainly quite useful in a wide range of scenarios. For precise modeling, however, even a million polys is insufficient at times. 3DCoat’s voxel technology provides the same type tools (and more) but operates with far more precision. Of course there are serious pixologic sculptors here and they can attest to something similar.
For built-in quick sculpting, c4d is pretty great. Amazingly scalable and elegant.
Glad to see people enjoying them, now would be a good time to put in requests
Yes, absolutely the sculpt tools now work on base polygon meshes since about R18 I think, and so for many tools they will replace them. The grab tool is basically a better version of the magnet tool in every way.
Naturally zbrush will always be the more powerful sculpting tool, c4d’s sculpting wont win over any zbrush modellers just as its motion tracking wont really convert any high end motion tracking people. but this is all about showing what tools are there, how in many cases you have a more powerful set of tools at your disposal than I think many people realise. Right now for example I’m just having a go with pyrocluster and might do a video on that soon as I think this is an area many people write off as being old and outdated… well, it is, but with a bit of love it can still make some nice stuff
I have a request:
Can you provide a preview tut of R20’s upcoming “Falcon Heavy” Rocket System?
I applaud Kent Barber’s fine work on the sculpting system and also would recommend his 4dPublish plugin as it can be viewed as a great companion to the sculpting toolset (uses same paradigm). It’s also a great companion to the painting system and features a handful of other miscellaneous weapons for different tasks.
Mash, in the video you suggest nicking the presets from zbrush, where can one find those?
just finished the video, one thing I think you could have mentioned is that you can sculpt at different levels of subdivision on different layers - that’s possible isn’t it?
It is possible, but to be honest I find this just confuses and trips many people over rather than helping them. The issue for me is that there’s not really any way to see what you have ever sculpted on any particular subdivision level other than turning everything off, you’re simply expected to remember. Given that this system largely functions as a way to have one set of detail on one layer and a finer set of detail on another layer, I would generally advise most people to just ignore this, go straight to the detail level you want to work at and apply different sculpting elements into real different layers instead of using the subd level as a poor mans layer system.
Great info thanks. Especially your pixel per polygon math.
Great to see you back doing tutorials Mash, always loved your presenting style and how engaging you are. I’ve learnt so much from you over the years. Thanks for passing on your knowledge.
These are terrific Mash - really brilliant. I am getting crushed by work but have seen a good portion of the sculpting introduction. I cant wait to finish watching and apply.
Such a good presentation! Thank you!!! Cheers, D
Awsome, going to watch this as soon as I have more than a couple of mins to spare. Thanks for your time Mash.
I would love to see a guide to managing large scenes covering working with a high number of objects, layers, ways of managing texture paths when you have accumulated 1000’s of textures and models in your collection (my C4D setup is really struggling with this), and finally TAKES!
Wow seasons greetings to you too! Amazing I’ll have a watch now. Thanks Mash
Excellent tut Mash. My biggest fear about takes has been working on a large project under the heat of a deadline and when I’m ready to hit render on a few different cams I end up with random things missing or moving in each cam. I think I’m just not diligent enough to remember always to switch to ‘main’ take before making changes, especially adding extra material tags and poly selections, I do that all the time and they will end up being missed in the main take. I like your guidance of probably getting everything right and then sorting out the takes right at the end but I suppose you have to be sure that everything is definitely finished otherwise im in the same boat of working in one take and scratching my head when moving to another take only to find they is a load of stuff missing/changed I hadn’t intended.
Practice I suspect is the key! Undoubtedly its a strong feature as I usually end up with several 3GB files all the same only with different cameras or things switched off for rendering which is also a nightmare!
Looking forward to seeing what you have lined up next.
Thanks again for your time and help.
Thanks very much for the video run-through! Extremely helpful!
Thank you, all this time iv had the take system and for some reason iv never used it, I will now. Very well done.
Excellent tutorial! Thanks Mash.
Glad to see C4D’s native sculpting tools getting some attention because they’re actually awesome if one invests a little time learning them.
Although Zbrush is powerful, C4D’s sculpting toolset is way easier to grasp and yields convincing results.
The simplicity of the workspace and how easy it is to remember (like riding a bike) compared to Zbrush is also significant.
For most jobs, C4D’s sculpting tools are perfectly fine.
Cheers / Alex
Cool example. Just curious, how far did you go with the base mesh before sculpting? or did you just start from a divided capsule and sculpt it all? Also, how did you work the symmetry into this, quad symmetry whilst modelling or applied afterwards?
It’s actually not that complicated. The base mesh was fairly simple - nothing fancy - just something to work with, loosely following the intended space to be occupied by the foil. Quads are preferable so lathing isn’t recommended here. While you’re at it, make sure your UV’s are sorted out early because it makes life easier downstream when you want to apply artwork to your bottle/foil. The only fiddly bit was to first model the cork and twisted wire. Foil on a champagne bottle tends to wrap tightly around it. If you’ve got reference images or the real thing handy, just copy along.
Essentially, the sculpting process was one of tedious pushing, pulling and pinching in and out, around the red cork thingy. No symmetry was used. Every time the red cork peaked through the surface, one just had to back off slightly and pull(brush) out to hide it again. One the foil is sculpted snuggly around the cork, your pretty much done. However, a few extra pinches and creases here and there to add detail is fine. C4D delivers.
Cheers / Alex