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Nature Tutorial

Howdy everybody, like i wrote in one of my last articles, my goal is to fill this site with new content from time to time. Some of you contacted me on Instagram or Facebook and asked me to do stuff not only with octane render, as a lot of you only using cinema for rendering or redshift. So for this time I decided to build a small outdoor scene. And for those of you who are interested in the “how can I make scenes like this on my own?” let me tell you some of my steps.

If you guys want me to do another tutorial like i did with the clean ship article, just leave a comment below this article, so I can decide in which way I can do such a tutorial. But for now let me tell you some of the steps. I will keep the explanation short, so you can decide if it is useful for you. For those of you who are using octane render, the scene with gras and all the trees will be made with the octane scatter object. For all the others you will have to use the cinema cloner object. Step 1 “the terrain” Just build a plane in cinema and make it quite big. Then keep in mind the more polygons the plane got, the more detail you can achieve. But remember the more polygons the more power is needed for your computer.

plane for the terrain

the river

Step2 “the river” Within cinema change the view to “sculpting”. After the change the view to top view and think about the river and its way on the terrain. After that use the sculpting tool to build the river on the plane. Increase the polys for more detail if you need it. Keep in mind that most rivers have several river bends and are not straight from one side to the other. The more natural bends the better. After you have built the river change the view back to standard. Step3 “the gras” One strategy is to think about the areas on the plane, where the gras must be. It does not make sense to place gras on the whole terrain, as this would increase the amount of needed power for the computer for sure. How can we achieve that? Well change to poly mode, select the plane and use the selection tool to select al the polys, which are necessary for the gras. Add the camera and try finding a nice shoot along the river. Now we have the possibility of controlling the areas, where the content has to be and the areas, which might be empty. Do not select polys, where the cameras are not pointing to or where the river is floating its way as there is no need for gras on the ground of the river. For optimal grass I would advice you to use Laubwerk or Forester.

gras cloner settings

gras settings

Step4 ”the first cloner” First things first. So let´s begin with the nature stuff. We create a cloner object. For the modus we choose “object”. Now let us take the terrain poly selection for gras and put it into the object field of the cloner. For Distribution we choose “Surface” and voilà the gras appears on the selected polys of the terrain. No gras at all you say? Well that´s because of the need to make a gras plant child to the cloner. And now the cloner begins with his work of cloning the gras. Do not forget to change the instance mode to “Render Instance” as we do not want cinema to get that slow. When we take a closer look at the gras, we can see less nature than we thought. Every grass looks the same. In order to give them more look like the wild nature, we add a random effector to the cloner. Let´s change the position in x and z (not y). Change the scaling 0.4 (uniform scaling). Finally change the rotation (but not for “p”) otherwise the plants will rotate upside down. Yeah this looks quite good. If your computer can handle it, duplicate the cloner and the random effector. Do not forget to link the duplicated effector to the duplicated cloner. Now change the values for the randomness and it should be fine. Step5 (cloner after cloner) Now that we got grass, let us keep on with the trees. As for the grass I would recommend Laubwerk or Forester for the trees as well. O.K. and what next? Well first let us think about where the trees should be. Keep in mind only to place trees in the view part of the cam. So let us select the plane of the terrain and change into poly mode. Select the top view and use the selection tool to make a poly selection for the trees. Be aware of not overwriting the previous selection for the gras. You must deselect the grass selection in order to prevent overwriting the grass selection with the new selection for the trees. Now duplicate one of the cloner for the grass. Change the child from grass plants to some nice trees. Change the object field from the grass selection to the new tree selection. Now we got some nice trees.

tree poly selection

cloner for the trees

Last step “environment” O.K. we have a camera, the terrain plane, we got grass, a river and trees. Anything we should add? Of course, we must add two last important things. “Light and sky”. For the sky I often use HDRI Link from Greyscalegorilla with the 12k sky packs. This HDRI package is fabulous for all kinds of outdoor lightning. Now that we have a nice sky, let us add a daylight. Keep tweaking with the values for sun and shadows. The bigger the sun, the sharper the shadows. That´s it! I know it´s a bit difficult as some of you use redshift, some other use octane and some more neither octane nor redshift but cinema. I hope you like this small picture tutorial and please leave a comment for this article on https://neo3d.eu   Cu neo… Read the full article

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Filling up the tank of fantasy..

Hey ho everybody i know these days are a little bit weird (#coronavirus), but I think we should take the given pause in business as a kind of breathtaking time. Coming closer with the family for example or doing more of your own things than always customer wishes. We being artists are able to use these times for education as well. We can learn stuff or trying out new techniques for example. Well, for me personal I made this little comparing piece of architecture design. O.K. you may say “man it´s a bathroom ..so what”, but I tried to take one shot in 3 lightning setups. The first daylight setup is to be taken at noon I guess, when the sun is straight up and shining directly from top to bottom.

The second is made to be at the evening, when the sun is about to disappear and covering everything in these warm, yellow kind of color. You can see the shadows which are quite long. The last one is at night, when a big kind of spotlight is coming through the windows. Perhaps it is just a car, which is parking in front of the house, or maybe it is an alien ship, landing in the front yard of the house 😊

Well you see for me I use this quiet time to play with my imagination and fantasy. I think we as the artists out there sometimes are working only the stuff for our customers but we also should refer to our own fantasy for some moments, to fill up our third eye.   So I guess this is enough spiritual stuff from me and I wish you and your families outr there all the best…   neo

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automotive rim time

hi everyone, today i made a new piece of art for my automotive portfolio. I used cinema 4d and octane render. In this shot i also included a totally new light setup in octane with only one are light. The area light has got a texture which is lightning. no more light sources in the whole shot. i hope you like it and please feel free to comment. cheers neo

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Fraktal Episode 8

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Hard surfaces week 2

Hi everyone, new post after a few weeks i know. But i am in the middle of a new project, a new cover art and a new course. For today i want to share my course results from last week. It is the course from Mario of elementza.com. Goal is learning advanced modelling techniques with hard surface objects. It is a technique where you learn to understand polygon flows and surface behaviour. I like it a lot and learned many crazy new stuff. The first week was very important too and very theoretically. The course is available at elementza and is is called "COMPLETE GUIDE TO HARD SURFACE 3D MODELING" I hardly recommand to take a look at it.

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Another pasture of my portfolio “industry design”. This is a prototype concept of a German company which is made in cinema4d. for rendering I used Arnold.

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New pictures added to my concept-art portfolio. This image is from the series “at the end of the world” This is part 1 and part 2 is to be found in the portfolio as well.

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architecture design

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commercial design

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commercial design

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Comparing ages

"Ages ..." by neo3d - art Hey Ho folks out there, it is me neo from neo3d art. In this post i will talk about the difference between one object in the same scene with the same light setup but... with different textures. We compare a simple clock. (Background of the story) I found this clock the other day in a forgotten box. The clock is almost 60 years of age and of course not that shiny anymore as it was back in the days. I did start to think ... “What did it probably look like in the old days... new shiny and ready to be shipped... ?” Then i was wondering how it probably would look, if it was not hidden for years in that box but somewhere outside. Getting scratches and damages all these years. Wouldn’t it be cool to see both models compared to each other?

That was the point when I did start modeling the clock, setting up the scene and the lightning, to make the clock as shiny and beautiful as possible. After that i developed a completely different texture setup but keeping the same environment setup. Look at the result, hope you like it.... The Picture is called “Ages...” neo   Read the full article

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Creating cover art

Hey everybody, this time i want to share a new portfolio category with you. The portfolio category is called "cover art" and is all about me producing cover art for the music industry. Like i wrote in another post at the moment i work for Gigaphon Entertainment which is publishing the audio play "Fraktal" besides other great stuff.I want to start with a audio play called "Fraktal" and it is all about kind of science fiction. Space ships, planets, universe and a bunch of interesting characters are involved in this audio play. Famous German voice-players do their best to give this piece a unique and great content. My order is to build the covers of the audio plays from episode 6 to 10. Unfortunately, i cannot write everything about it because i am working now on episode 8 but last weeks it was episode 6 which was released first. And for the episode 6 i am able and want to share with you the cover design. I include the main art work here without the publisher frame, so i hope you enjoy the first peace which is called "shield of Kintaru". For this piece i did want to transport the massive shield, which defeats the planet Kintaru. The glow of the planet takes place all over the planet and does not end on the bridge of the spaceship, which approaches the planet Kintaru. Here is the link to the publishers Facebook page, but you can find it on amazon or other shops as well. I will keep you up with the next cover for episode 7 which is already done but not released. stay tuned for more information shortly..  

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Cover Art

Cover Art Hey mates out there this is neo again. Today I want to share an art work with you, that come from my cover art project, but did not make it through the finals ☹) Here is the first art work: https://neo3d.eu/my-first-official-cd-dvd-cover-art/ Nevertheless, I think it is worth sharing it with you. There is this concept behind the scene which is about to show a kind of landscape with a kind of fence in the middle of it. One side is the good side and the other side is the dangerous side with creatures and stuff. The fence is a kind of energy fence and I used some science fiction style on it. On the other hand, there is this beautiful landscape showing you some wonderful trees and the sharp contrasted grass. I used some great textures for the ground from “RD Textures”. 3DVisual.at These textures are amazing and the support of the guys and girls behind it are fast and very kindly. The textures are scanned and amazing if you crank up the displacement channel. The results are very realistic, and I really recommend them. The grass and the trees are made with forester and I had some good conversations with them as well. Shout out to 3dquakers 3DQUAKERS at this point. And finally a big shout out to John Burdok and his "Octane master course", which pushed my level of understanding octane a lot. Thanks, mate, for your outstanding course. My kind of "octane bible!" https://store.epicjcreations.com/octane-master-course Read the full article

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My first official CD/DVD Cover Art

Hello mates and sorry to be so often away these days. I hope everybody had a good start in the year 2019. For me it is a very exiting start because of my first official Cover Art for a german science fiction radioplay. It is called "Fraktal" and i am talking about episode number 6 and right now i am about to finish episode number 7. I will show you the work as soon as possible but as to legimitations of the customer i have to wait with posting or showing any work until the official date of releasing the episode. This radioplay is all about science fiction and my goal was to build a scenery with one big planet called "Kintaru" which has a global lightning shield and his two moons. On top of that i had to build the view of a spacecommander reaching Kintaru looking full of awe and respect onto the planet and its shield. Stay tuned for the trailer which will come later this month or in february.

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Clock Design with new Volume Builder Generator in C4D

So finally, a bit late but here it is. First small sneak view of my first model, created by using the new volume Builder generator in C4D R20. I must admit I am not ready but hey this is a first sneak... I found the new technique very interesting and of course a big step forward. I enclosed several parametric objects and added them, subtracted them, made holes in it and again and again. Once cinema calculated everything (voxel size!) the editor view still is fast as hell. My Octane feedback as well so I can say „Great new enhancement Maxon!" Read the full article

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Texturing with the New Volume Builder Generator in C4D

Hey everybody I know it has been a while since my last post, but the reason for this is on the one hand a cold I had which struggled myself for at least two weeks, and on the other hand my first steps to the new R20 version of cinema 4d. It is always the point, that there is this time, when you know it is necessary to open the next door. In our case of cause the new version of cinema. There are major updates in this new version and the first ones really blew my mind. Using the new fields is as fascinating as using the new "Volume Builder Generator". This is super-fast modeling while adding or subtracting one object with another. And when I say super-fast, everybody knows what I mean who worked with the bool object in the past. You are using 4 or 5 bool objects and suddenly the performance of the computer slows down as hell. But not with the "Volume Builder Generator". I really would recommend everyone to take a look at the Greyscalegorilla’s Guide to Cinema 4D R20. But now to the problem I realized working with the new system. First, I do not want to talk about how to use the builder itself as there are several tutorials out there. But at the end there is this problem you got your mesh and you want to texture every single part of the mesh. When you add a material to a child object of the volume builder it does not affect it. Why is that? Well if you think about the system itself and how it works, it is quite clear. The volume mesher builds a new mesh using all these voxel fields, which are only fields and no objects.  One way is to transfer the whole object to an editable object. Here you got your poly-model which is to be textured using poly selections. But the mesh-builder is gone, and you do not have the ability to make corrections or add new objects to your model-builder. So how to make your poly-selections and keep the mesh-system? My solution is to use a correction deformer. Apply the correction deformer to the volume-mesher. After that click on the correction deformer, select your polys, freeze them. After that drag the poly-selection tag to the volume-mesher and apply the tag to the material... And voila, here is your selection without losing the ability to keep on working with the volume-builder... Keep on mates and cheers neo.  

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