In this tutorial, Dustin Valkema walks us through how to create a realistic-looking glass beverage and carrier in Cinema 4D and Redshift. This tutorial is the perfect companion to the Intro To Modeling tutorial with Geoff DeVries as we're bringing both projects together to create one awesome product. Covering everything from subtle imperfections, logo placement, stacking materials, product lighting, rendering, and post-production, Dustin shows us the entire process in this project-based tutorial.
We're using Redshift inside Cinema 4D for its speed and flexibility during the material creation process and rendering. We'll dive into mixing various materials and texture maps together while previewing our changes easily. While we're using Redshift, the fundamentals of our project will carry over quite well in Octane Render.
By the end of this tutorial, you'll have a great grasp of what it takes to create awesome beverage work and gain the confidence needed to start with your own projects. You'll be introduced to various ways of thinking and problem solving as Dustin navigates this project from start to finish.
Dustin discusses the project's goal and what's included in the downloads for the tutorial. Software Versions. Cinema 4D S24 and Redshift V.3.052.
In this video, we'll be taking a look at each of our models from Geoff and inspecting them prior to moving forward. This is always important as we can catch small road bumps before they happen.
In this video, we'll be setting up our base render settings for the project. This is a good place to start to ensure we're seeing our full resolution, and getting accurate previews while we render later in the project.
In this video, Dustin walks us through the process of setting up our Redshift AOV's or Render Passes.
In this video, Dustin explains his process for communicating with the client, as well as walking through the whole process from start to finish.
In this video, Dustin walks us through multiple ways of merging 3D objects into one project inside Cinema 4D.
It's time to place our Redshift camera in the scene and build any small props that we may want to use for compositional pieces. Often times with products, these can be simple primitives. We'll experiment with this here.
In this video, we're building our in-camera composition and finding ways to make our scene visually interesting using the Redshift camera.
Dustin gives students an assignment to create their own shot composition using their current scene models.
Dustin walks us through creating a good base for reflections and ambient lighting using the Redshift Dome Light.
In this video, Dustin introduces the Redshift Area Light. These will be a good start to the direct lighting in our scene.
Dustin challenges students with an assignment in creating their own lighting environment for their composition.
In this video, Dustin uses the provided design elements to create a bottle texture design using Photoshop.
Dustin gives students the assignment of creating their own bottle labels and texture maps.
Dustin walks us through the process of creating a glass material and using roughness and normals maps to create imperfections on a glass bottle.
Using our previously created displacement maps, Dustin discusses how to displace glass using the displacement blender node.
Dustin walks us through how to add logos to our bottle using the material blender node.
In this video, Dustin shows how to use selections to apply two different materials to an object using selections. We will be creating the cap logo and metal material here.
In this video, Dustin discusses the process of creating bubbles inside of the carbonated liquid using the cloner object and Redshift material.
In this video, Dustin explores methods of creating water condensation on the bottle via the Cloner Object and textures.
In this video, Dustin begins making adjustments to the lighting in his scene, specifically on the bottle as the hero of the shot.
In this video, you'll see Dustin's process of laying out the design for our Box Using the provided UV textures and design files
Dustin challenges students to create their own box design using methods taught in the previous training.
Prior to adding design elements, Dustin creates the cardboard texture to be used for the box.
Dustin shows us his process of adding design details to the product box.
Dustin's final stage before post-processing is taking a moment to look his scene over and then render his image. In this video, you'll get to take a look at what this process looks like.
Dustin shows us how he likes to organize his Photoshop files before starting his compositing process.
Dustin walks us through the process of building a bloom and glare layer for use in post-production, using render layers.
Dustin shows us how to rebuild our beauty render in Photoshop, to match our final render.
In this video, we get to see Dustin's compositing process while making local adjustments using masks and other photoshop tools.
Dustin uses Camera Raw to apply the finishing touches to his composite while discussing his thought process behind doing so.
In this video, Dustin discusses the export process needed to create an SRGB image of our composite.
Dustin gives students a challenge in making their own version of their composite from scratch.
In this video, Gary Martin uses his vast experience working in the beverage industry to offer Dustin some creative insights and critique.
With all the feedback in hand, Dustin sits down at the beginning of his workflow to reexamine the camera composition and make adjustments.
For a CGI project to be perfect, it has to have imperfections, just like something from the real world would have. In this video, Dustin will work on building some dents and bends into the box carrier.
Continuing on the theme of imperfections makes perfect, Dustin continues to manipulate the box while also working on the materials for the bottle.
With all the adjustments to the composition and the materials, the lighting has to be reconfigured and adjusted. Dustin revisits lighting to make sure everything is still working.
In this video, we make adjustments and double-check the AOVs. This collection of assets will give us all the information and pieces for our final composite.
With all the rendering done, it is time to bring the final image into Photoshop for post-production and retouching of the images.
With the image retouched and delivered, Dustin gives his final thoughts.
