With Cinema 4D Release 16, the material system in Cinema 4D evolved with the specular and reflection channels becoming merged into a new, more powerful Reflectance Channel. Reflectance allows you to combine multiple layers of specular and reflection using a variety of new functions offering creative possibilities for complex materials.
Mastering Materials Part 2 focusses primarily on the Reflectance Channel, by creating a variety of materials which all use Reflectance you will explore the vast array of new parameters using a practical hands on approach.
The introduction is broken into two sections where Tim walks you through the various new functions available with Reflectance, whilst making comparisons to the older Cinema 4D materials system and at the same time, demonstrating how you could achieve a similar look using Reflectance rather than shaders such as Lumas. This introduction is particularly useful if you have a history of working with Cinema 4D and need to get up to speed with Reflectance and how to adapt your old techniques to the new workflow.
This chapter runs through a few tips which show you some methods to optimise your rendering process. Looking at both the Physical and Standard renderer, streamline your workflow by creating optimal settings for lights, shadows, shaders and rendering combined with multiple render settings for speedy-switching, between test and final quality.
Starting with a glossy bronze material we explore the reflectance channel and the options available. This is then evolved into a more aged material, finally adding a patina to the surface. We work with multiple materials and texture tags on one object using a variety of shaders including noise, fresnel, ambient occlusion and the layer shader.
In this tutorial we build a jade material by compositing and colorising multiple noise shaders with the layer shader. Combine this with sub-surface scattering, bump and reflectance to create an attractive jade material whilst exploring many features of the Cinema 4D material system.
Starting with the creation of simple white marble using the colour and luminance channels combined with the sub-surface scattering shader, this material evolves into a more intricate detailed polished stone. Using multiple layers of noise combined with colour correction and distortion shaders, plus the addition of reflectance integrated with physical fresnel, creates a glossy finish with a natural luminance.
Rather than a bullion gold, this is a multi-layered material which is instantly appealing, this tutorial incorporates a bitmap texture into the workflow as an alternative to procedural shaders. Working with two layers of reflectance with physical fresnel you will create a multifaceted surface, using high roughness combined with a glossy top coat, for multiple reflections.
Composed of two separate materials, first we create a radial brushed metal with the anisotropic function of reflectance, working with several layers of both specular and reflection rendered with scratches and composited together. The second material demonstrates the use of layer maps to control parameter strength by using the vertex map shader to blend between a sharp and rough reflection and to influence the strength of bump mapping.
Using the irawan function, specifically designed for rendering cloth type surfaces, we build a beautiful glossy satin material. Discover the optimal settings for recreating the weave and sheen so typical of this type of cloth.
Starting with a single coloured polyester material created with the irawan function, this tutorial evolves to demonstrate how you can render a striped cloth using a gradient shader with custom colours, as an alternative to the single colour swatches normally used for warp and weft.
In this final cloth tutorial, we start with a preset and look at how you can quickly and easily adapt the settings to create a unique material of your own.
Reflectance is the ideal method for creating multi-layered car paint type materials and this section, which is split into four tutorials, shows you a variety of possible techniques. Starting with a simple glossy material composed of base, glitter and gloss layers, we then adapt this to include two colours masked with fresnel. Elaborating on this, we then build a metal flake type paint material and explore three alternative methods for this type of look.
Two separate tutorials which both use entirely different approaches to explore the possibilities for rendering carbon fibre. The first uses anisotropic scratches to simulate the fibres, working with both patterns and masking to create the check board effect. The second approach uses irawan cloth to simulate the weave of carbon fibre, both producing different results whilst showing the versatility of the reflectance channel.