Lighting Tips for Arnold in Cinema 4D

Lighting Tips for Arnold in Cinema 4D

in this video I’m gonna show you some of
my favorite techniques for making reflective surfaces look awesome let’s
jump in hey what’s up everybody Chad here from where
we bring you the tools training and tutorials you need to make yourself a
better motion designer today’s video was taken from a twitch stream that I did a
lap I think it was last week where I covered some of my favorite techniques
for making reflective materials look great I’m gonna be using hgri link and
Arnold but a lot of the techniques I’m gonna show you you’ll be able to follow
along and any renderer so let’s get started today we’re gonna be talking
about metal and not the kind of metal that you may have seen me post when this
when our pro metals pack launched I had this hilarious picture of me you know
drinking Jack Daniels and wearing a really long haired wig and I looked like
a metal dude well guess what that was just Halloween I was not I don’t really
look like that I never really had long hair in fact I wish I could have had
long hair but alas I am balding so bald ding
so the key end of that phrase okay so what are we going to talk about we’re
gonna talk about how to make metal look awesome in any render but I’m going to
be using Arnold why am I using Arnold I have it I love it it’s easy to demo and
it’ll work fine for what I’m doing and we’re also going to be used using H dry
links so you can see here we’ve got this this frame this car frame that I got
from turbosquid it’s really awesome kind of exposed frame that you might see in
like a product shot or you might see in like a catalog or something for this car
and we’re gonna make this thing look awesome make it look metallic now it’s
not as simple as just throwing in an HDR I making a metal shader and calling it a
day it’s actually gonna be a bit more complicated than that because so let’s
just kind of walk through a typical scenario in our case we’re gonna be
using HDR link just because it’s faster so I’m gonna go ahead and create a sky
an Arnold sky I’m gonna go ahead and activate my IPR and I have fairly low
settings in here so that it goes a little bit faster for this demo in fact
I might actually lower it a bit more and this is probably gonna look a little bit
ratty but whatever its it’ll be fast and that’s
really all I care about right now okay so let’s add an H dry link tag and we’re
gonna jump back into Arnold sky and change our color type to texture it’s
gonna immediately open this pop-up to want you to you know navigate to find
your HDR but we’re going to close that and we’re just going to drag the word
color right on to the HTR link tag and it’s instantly going to load our HDR I
so what do we want to do then the next thing we want to do is dive into the tag
and change the resolution from full to preview this is going to load a slightly
lower resolution version of the eight of the HDR I just so that it goes faster
okay so let’s also just start from scratch here we’re gonna grab a new
Arnold surface so I’m just going to right click in the IPR I’m going to say
create Arnold material it’s gonna create and assign an Arnold material to that
particular object actually I think because these are different pieces I’m
going to actually do it a little bit differently I’m actually going to do it
to the entire thing so with that guy selected I’m gonna go ahead and drag him
and replace that texture okay so now we’ve just got a white plastic and we
have our HDRI in here and it’s going to default to I believe the pro the pro
basic studio basics but that’s not the pack that we’re gonna deal with right
now so right now I’m going to show you typically your instinct might be oh I’m
doing metal let me find an HDR eye that works and let’s try this daylight and
I’m gonna go ahead and turn off the contribution to the camera so that it
doesn’t show up in the background okay so let’s jump into the material and make
some metal because that’s really what we’re after here and I’m not even gonna
get that detailed into how we’re gonna create this metal I’m just gonna select
that shader and I’m gonna I’m hitting ctrl tab to open up this little quick
search I’m gonna type yeah god I can’t talk start typing surface
standard and then hit enter and it’s going to finish that up and put that in
the scene for me I’m going to kind of move this around so I can see a little
bit better and there we go alright so Arnel has these nice little material
presets that I like to use in fact I’m just going to twirl down to metal and
instantly gives me a metallic kind of surface the other thing I’m going to do
is select a metal preset and in our case I’m gonna choose aluminum because I feel
like I don’t know this is some sort of aluminum
alloy probably so let’s just give it a roughness of point to make it make it
sort of sort of rough okay so that doesn’t look good right because it’s
just it’s a daytime HDRI this is a product shot and that that’s really not
what you’d want to use you wouldn’t want to use like a regular old HDRI so what
do you want to use well you know your instinct might be well I know I know
GSG has these Pro Studios like would that work like is that something I
should use so let’s just dive in and grab one of those and you can see I’m
just gonna actually rotate this light around so you can see it when it hits
the the front of the car here that doesn’t look good either because it’s
really a harsh light it’s a single source and it doesn’t look good on metal
what metal needs to look good are gradients and hot spots and little
pieces of gray and like little areas where if the light isn’t hitting you’re
still getting a definition of what you’re seeing it’s you want that sort of
in-between value a lot of range an outdoor HDR is not going to work
outdoor it sure is not going to work in sand these harsh like studio lights that
look great in some situations are not going to look good in this situation so
what does work well that’s why I created the pro Studios metal pack because if I
come up here and I kind of just let me just make this a little bit easier if
you has to see if you look here a lot of these H dries have gradients they have
little bright spots and grays that fall off into black and little highlights and
some of them have these like little streaky bits and that’s what’s gonna
pick up on the metal that’s how you would shoot it in real life you’d be
shooting into bounce cards you’d be shooting through cookies you’d be
shooting into all these different surfaces to get the metal to reflect the
way that you want so if you approach it like that if you approach it like a
photographer you’re gonna get a better result so right off the bat before I
dive into setting anything I’m gonna hit the little scene debug in my IPR over
here which basically just loads a white shader onto everything in my in my scene
here and Arnold’s really nice way to kind of figure out if your light is too
bright to dark if your ketta light key to fill ratios
out-of-whack whatever so turn that on and I can see that I’ve got some
subdivision problems going on because this lot this model is actually pretty
let me actually just turn on this you can see it a little bit better maybe
this bigger all right so this thing needs to be subdivided it’s it’s not
going into a sub D surface and there are a bunch of parts in here okay so how do
I I could just go in here and like multi select all of them and you know grab an
Arnold tag and do it that way but we have this hierarchy here and I’m going
to show you a cool little trick first I’m gonna take a swig of water sorry
about that all right so grab our top level of our
hierarchy go over to the cinema 4d to a tags grab an Arnold parameter tag now
the Arnold tag knows that it’s at the top of a hierarchy and doesn’t really
know what you want to do with it it doesn’t understand because it’s not
being a it’s not directly applied to a mesh so I’m going to force it I’m gonna
say you are I’m gonna say well actually only go back I’m gonna hit the show
custom parameters tag and I’m gonna force it to think of this tag as a poly
mesh tag now why did I do that because that’s going to expose the subdivision
tab over here and then from there I can say cat Clark and give it an iteration
of 1 and now we have a subdivision render time subdivision surface on our
entire hierarchy happening only at render time and we have a nice smooth
car so let’s get back out of debug mode and now we can see that we’ve got the
right subdivisions on our car model and it’s looking pretty good but again this
is not not the kind of lighting I would approach I would use to approach this
type of shot I think what I would do in my case is something I would let my end
result kind of dictate what I’m after in terms of lighting so if if I’m going for
drama and I’m doing like a dramatic shot maybe this is for a print ad or the end
tag of a spot or something or maybe it’s gonna appear in the spot I want
something more dramatic and I know that something very top light top-heavy with
a little bit of a highlight like this one right here metals o.9 is going to do
that for me and I’m just going to kind of frame up
on this and I’m going to create a camera from this view after it finishes auto
saving of course autosave always has to happen at the most inopportune times ok
create a camera I’m going to make this camera like an 80 mil camera I’m gonna
back it off quite a bit see what I didn’t like about that
wide-angle lens is that it was giving me too much of the the back kind of arm I
don’t know what you call this I guess it’s the the window Ridge or the window
arm from the other side and I want to create something a bit more dramatic and
kind of special I guess is the word right alright so let’s do 100 mil lens
let’s back that off and I’m just trying to create something that looks pretty
alright now I’m going to take my Arnold Sky I’m going to zero out the rotation
and I’m just gonna try to find out I know I’m using this HDR right here
there’s a little highlight and I’m gonna try to figure out where that highlight
is I could come in here and start to twirl this this Arnold sky around and
like try to figure it out but given that this is a pretty complex surface and
there’s a lot of glossies going on that’s actually going
to be pretty hard so another thing I like to do when I’m working like this
I’ll create a little sphere and this in this case I’ve got a little chrome ball
just sitting off to the side here and this little chrome ball is going to be
how I’m going to figure out where my reflection is so right away I can see
that my little highlight is over there and actually you know what I’m gonna
move that little chrome ball out in front of my car so I can see it a little
bit better and I’m also going to raise it up a little bit okay cool so now I
can kind of I have a better idea of what’s happening with my HDRI so I’m
gonna grab my sky again zero out the rotation and I’m just gonna try to put
that highlight of that that little ping right off the front of that hood cool I
like that let’s go ahead and hide the chrome ball and that’s a pretty good
dramatic render but now I’m just gonna kind of kind of toggle through some of
these for some other different looks for instance if like you wanted something
even more dramatic you could kind of come down here there’s some in here that
are a bit more dramatic this one obviously we’ve got if we turn on our
little ball here we’ve it’s extremely front lit and anytime
you’re doing metals the last thing you want to do well not necessarily it’s an
artistic thing amen subjective right so I particularly don’t
like front lighting metal because it just doesn’t look right it doesn’t look
pretty doesn’t really show off the shape of this model so what I’m gonna do
actually is just zero out the rotation of this guy and now all I’ve done is
kind of brought the softbox to the back and this like little ring light to the
front that’s a little bit more interesting but watch how much more
interesting it gets when I just knock it 90 degrees and then I just start to peek
let some of that light just peek in on that surface not even all the way maybe
we even go the other way there we go that’s even better see we’ve got a
little backlight action we got a little rim happening I’ve got this little blush
of light it’s all about the gradients when you’re doing metal it’s all about
that so let’s try another one actually let’s this is this is one of my favorite
ones here you can see again I got my chrome ball see what’s happening I’m
actually gonna bring that intensity up a little bit so I’m gonna go under the
bank controls of my Arnold sky I’m not gonna touch intensity I’m gonna touch
exposure and I’m just gonna bring the exposure up to maybe two yeah that’s
looking good okay so let’s go ahead and hide our
chrome ball and again not bad right it’s looking a little bit a little bit grainy
not worried we can clean that up not a big deal not even gonna get into that
actually I just want to talk about why I’m doing these things so drama you want
to create drama you want to rim light stuff you want to have fewer gradients
if you’re doing something like 4 maybe it’s more of an instructional thing
maybe it’s something that’s gonna appear in a catalog showing off the awesome
structural integrity of this car in that case you’d probably want to use
something that’s a little bit more evenly lit this one 19 right here it’s
got a lot of gradients little washes of light and dark it’s really pretty let’s
see how that looks on our chrome ball just so I can kind of line it up what I
like to do also and you’re gonna see me do this a lot I try to line up the
darkest spot to be facing the camera the darkest spot of the HDR eye so you can
see right here this is behind camera and that’s not what I want I want to
actually come over to the coordinates let’s zero it out see what that gives us
all right that’s not what I want I want one-eighty this okay uh actually you
know what that was what I want I think I just have my exposure to hi-yah my I
forgot to bring my exposure back down so when you’re doing metals one little
trick always try to have whatever is right behind the camera fairly dark and
in this in this particular HD riot is pretty dark in fact let’s choose one
that’s actually black the reason that I like to do that is because like I said
anything that is directly behind camera reflecting in metal generally doesn’t
look that good Plus in the real world it would be sort of difficult to have
something directly behind the camera without the camera showing up in the
reflection so it’s kind of you know common sense so save yourself the
trouble try to try to mask off or create some sort of flags to keep keep the area
directly behind camera from being reflective or if that’s a conscious
decision like babe you know you’re actually trying to make look look like
you have maybe have a ring light on the camera that can look kind of cool too so
it all depends on what you’re after but in this case we’re gonna leave that off
all right so that’s kind of how I lit some of these car frame shots that show
up on our website I’m gonna open up a few other models here because this this
model is great and I feel like you know we could kind of dive in here and do
like a three-quarter e thing or maybe we want to like you know get a little fun
with that and now of course like that that this H drives was not going to cut
it for this I mean I could rotate it but again it’s just not gonna work so let’s
go back into something that’s a little bit more built for this sort of thing I
kind of dig that one except for that one I think I might rotate this guy 90
degrees to kind of give it a little bit more maybe negative 90 try to rim light
that a little bit oh that’s nice a little bit better and man having the IPR
whether using redshift Arnold octane whatever I don’t know how
the hell we did this stuff before we had the real-time IPR feedback because
seriously whenever you’re doing this type of work
it is you got to have it I mean it’s it’s just so hard to to kind of figure
out where the reflections are and if you if you don’t have that real-time
feedback it becomes a real pain okay so there’s our car model now let’s
see what else do I have in here I’ve got I got some other fun models in here
let’s turn off the car frame let’s do something really complex let’s do this
engine so hopefully this will load okay let’s turn on this engine and boom okay
and you know what we hide the metal frame so again I’ve got this really
awesome model from turbosquid I’m kind of like addicted to going on turbosquid
and like finding these like crazy complicated looking models to do
lighting studies with Wow dude I didn’t really have to do anything look at that
it just looks cool anyway so again how would I approach something like this
it’s very cylindrical it’s complicated again these are all built with these
types of scenes in mind if you’re doing product stuff this is like perfect way
to handle this stuff so in this case like if I had something let’s just let’s
just do the wrong thing first okay so let’s go back and we’ll grab going to
Paradise we’ll grab this outdoor right so your client says hey we need this
you know render of this engine model and we want it to look all metal and chrome
and your like chrome okay cool yeah I’ll grab an HDRI right well look
at that it doesn’t look good that looks terrible I mean maybe if that was maybe
if this was like where our engine was sitting and like we went out to and we
had like some background plate or something and we like shot it like okay
well yeah that I guess that kind of works but it doesn’t look sexy it
doesn’t look cool so again getting back into why why does it look good well the
why is because it’s all about the drama it’s all about that drama when you’re
doing this sort of thing and I forget which one we had in there I don’t I
don’t think it was that one I want to say it was this guy well anyway let’s
just click through some of these and I’ll you’ll quickly understand like why
I choose the the ones that I choose again let’s turn on our chrome ball I
want to see that chrome ball in there so I can really tell where my reflections
are that’s probably fine so in this case we’ve got a very cylindrical object so I
personally would want to do something that was very top lit with a little bit
of bottom and then some sort of interest in the middle so that I could pick up a
lot of these details along the way and I’m just gonna experiment here until I
find one that I like and that one is not it this one this one’s pretty darn close
this one has just kind of some foggy lights on the top and the bottom it’s
not bad but it’s not giving me a lot in the middle you can see the middle is
completely falling off to black so I’m gonna keep going until I find one that I
like this one’s not bad either I think I just need to boo-boo I’m gonna actually
zero out the rotation of this guy and maybe go 180 now that’s not gonna work
let’s go 90 degrees now let’s try negative 90 there we go now we’re
getting somewhere all right this is looking cool but this
particular metal is a bit too shiny for my liking so I think I might have had
like a completely different shader on this guy I did so all right so I’m gonna
open up that nit shooting Network and I’m just gonna give it a bit more
roughness whoa way too much roughness let’s just go like three that’s pretty
good and now I’m gonna just like find a cool angle on this thing I don’t want to
do anything straight on once again autosave doing its thing making me angry
all right so let’s find something that’s a bit more dramatic I’m going for drama
here that’s not bad let’s come in here I’m
going to just bring that now that actually looks pretty good mmm so a lot
of what I do when I’m working on these types of shots is just experimenting and
I’m going actually I dig that you know what I’m gonna say that that is good I’m
just gonna open up that shader and bring that glossiness down a little bit and
I’m going to bring the overall exposure of this up okay now let’s say this is
the angle that we want to render and actually let’s kind of yeah you know
what I kind of dig it when we have a little bit of negative space around it
something more interesting about that let’s hide our chrome ball and frame up
on our engine here this is looking good it’s actually
pretty pretty darn good yeah not a whole lot you have to do there once you kind
of built the materials and again this this materials there’s really not much
to it like look at this thing it’s really just a metal preset I don’t even
have any roughness Maps I don’t have any dirt anything like that I might get into
that a little bit later if we have time but I’m not gonna not gonna dive too
deep into that let’s just move on to another one okay so we’ve kind of
covered this sort of thing and you’re probably thinking like okay well you
know he’s showing a lot of these this HDRI pack but you know what if I need
that finite control what if I need to like really get in there and and make it
something my client wants a highlight in a very specific place all right well
let’s let’s take a look at that what does that look like all right so let’s
jump in here let’s take a look at some typography okay so we didn’t talk about
typography and typography I mean come on like you you’re gonna have to do a metal
logo at some point in your career it’s just it’s one of those things that’s you
know is just gonna happen to you let me take a drink here
all right we’ve all been there we’ve all had to do these metal logos some people
dig them I actually I don’t mind doing them actually I mean they can be kind of
fun first thing I’m gonna do is create a new camera and look through it and I am
NOT gonna use a hundred mil lens that’s gonna be way too long for this sort of
work I don’t know let’s just do 40 because 40 is probably gonna look cooler
on our metal so you how much more dynamic that looks already
those those lenses make a difference folks they do make a difference all
right so let’s create a shader for this guy you could like I said right click in
the IPR and say create our own material but it’s only gonna create it for the
object that it’s directly sitting under and we have this little hierarchy here
and it’ll be easier I think if I just come over here and just do it the
old-school way and grab a standard surface and then I’m just gonna drag it
on to this entire hierarchy yep cool and let’s just middle click to get into the
the Arnold shader Network and let’s just create a really simple metal I’m gonna
say metal and for this one do lead okay so lead and whenever I’m
doing typography metal-type I tend to keep the roughness pretty high I’m not
and usually I’ll throw like a bunch of grunge maps and whatnot but for this
demo I’ll keep it pretty simple all right so point two so it already
looks pretty decent I didn’t have to do anything in fact I still have this
Arnold’s guy in here with our HDRI and that’s providing a pretty decent
lighting setup I’m just gonna try maybe something else over here let’s try ooh I
just locked up hopefully hopefully I’ll come back to life here okay there we go
that one’s pretty good actually you know what let’s do something that’s a bit
more dramatic I’m gonna try something now I know that one’s not gonna look
good because this metal type is going to require a lot of little little
highlights and little bits ok I’m liking this in fact okay we’re gonna go with
that one and I’m gonna rotate it I’m going to zero it out to see what it
looks like okay that’s very backlit not really what I want want just a little
bit of that highlight to come through and now let’s say that our client came
in and they’re like all right this is looking good but I want like a highlight
you know the typical like throw a highlight on the front of the text
comment that everybody gets so yeah what do we do here well lucky for you we can
just grab a quad light and Arnold the artists one of the things I love about
Arnold so I grabbed an Arnold quad light and inside the main tab of the Arnold
quad light you have a look at a little picker right here it has like a built in
point constraint in this light I love that so I’m just going to click that
grab the word metal and now it’s going to be pointing at that word metal and
I’m just gonna dive out to a front view here and let’s go ahead and make sure
it’s actually looking at the actual type here cuz it wasn’t and I’m gonna just
pull this light out and maybe walk it away from the what did I do here looks
like I screwed something up I’m just gonna undo I accidentally pulled the the
front of the lettering off alright so let’s have it look at that metal type
cool and I’m going to turn off the skylights
now we’re only seeing this area light in this quad light and just to make it a
little bit more apparent I’m gonna turn off normal eyes and if for those of you
that don’t know what normal eyes is normal eyes means that no matter the
size of the light it’s always going to be spitting out the same amount of
energy I tend to turn that off because I like big lights to cast or like throw a
lot of light and tiny lights to throw a little tiny amounts of light all right
so let’s grab our metal and I think it’ll be easiest to kind of describe
what I’m going to do if I show you this without any roughness at all so this
metallic surface right now is almost like a mirror there’s no roughness
happening you can see the edges of my of my quad light showing up if I pull it up
in the frame you’re gonna see it gets revealed here if I move it off I just
want to show you right there okay so this is a this is not pretty this is not
doesn’t look real it doesn’t look good because we’ve got a solid white in our
light and if you’re if you’ve done any photography your lights aren’t solid
white they have a blight bulb in them and usually a baffling on them so it
covers them up and it creates really an interesting more interesting reflection
well the Arnold quad light has some really cool features and some of my cool
features I’m gonna show you actually let’s try to get the corner if I can get
the corner of one of these the show up there we go
okay so right here you can see the corner of our quad light and we have
this little in our main tab of our quad light we have this little setting called
roundness so if I start to drag this up it’s gonna introduce roundness to our
quad light corner and I’m gonna drag that up until I feel like it feels a bit
more realistic because in life there’s no such thing as completely perfect
90-degree edges in this case we’re going to have a we’re gonna say our light is a
little bit soft the other thing I like to do is turn on the soft edges because
this kind of blurs that line a little bit okay
so makes that feel a little bit more see how it already feels more chrome because
again we’re not using the harsh light we’re not using the harsh you know on or
off it’s got some gradients it’s got some flavor to it
all right spring though spread down because what the spread is doing is it’s
actually going to say alright the hottest let me see if I can
get a better view actually you know what we’ll turn on our chrome ball that’ll
forget about our little chrome ball he can help us in so many different ways
alright so here we go alright so you could see our light in
our little chrome ball here if I start to bring this spread out you’re gonna
see and it’s gonna be a little bit hard to see it’s let me bring the exposure
down so see if I bring that spread down I’m kind of like imagine like you’re
taking the bulb of the light and pushing it closer to the fabric on your softbox
or pulling it away so if I lower this spread it’s kind of like making it feel
like the bulb is closer to the to the light kind of I guess the front is what
you’d call it so cool all right I like that let’s hide mr. chrome ball we don’t
need to see him anymore and let’s actually make that even a little bit
dimmer because I’m just trying to create gradients guys that’s what I’m after
here I’m out I don’t like the the contrast ease stuff ok now we’ve got a
highlight that looks a lot more realistic let’s jump back into our
shader I think it was that one yeah and now we can bring our roughness back up
to a respectable level in fact probably a little bit less than that
somewhere like in there cool so now we have our highlight now we have let’s
turn our skylight back on and now we have some metal type that’s looking good
and now we could even animate maybe we take this light and I’m just hitting
ctrl on my timeline and setting a keyframe and then I’m gonna walk the
light over to the other side and you know what maybe somewhere over here
would actually be pretty good like something like just over there and I’m
hitting ctrl and clicking on the timeline I just could know the keyframe
on our light I’m going to rewind it and we’re gonna see how well Arnold does in
keeping up with me animating cool so it’s showing you like a really low res
version but now we’ve got this light sweep going across our text and if we
want to make it even more apparent we could bring the exposure down on our
skylight so then that light becomes more of the hero and then of course can come
in here and tint the color temperature you know maybe bring it to like 50 200
or maybe you want it to look cooler so maybe it’s like 7200
whatever you’re into whatever the the flavor you’re after so
yeah that’s some techniques of using this Pro metals pack in doing typography
what else what other models do I have hiding around in here I got quite a few
actually how am i doing on time look it looks like I’m running a little bit long
but that’s not too bad I’m gonna show you one more object and let’s die
actually and what we’re gonna kill this quad light will kill that camera will
kill all the cameras and we’ll leave mr. crome ball there all right so let’s hide
this guy we’re gonna hide that guy let’s bring out my favorite model from the pro
studios metal marketing stuff that we did and that is going to be this model
that a good friend of mine Patrick gaskey created and it’s a little hard to
see so I’m just gonna turn off the edge mode here look at how crazy awesome this
model is like Patrick really is out of his mind in the most fabulous way and
we’re gonna do a nice product render of his sculpt and this aspect ratio is not
doing it for me with this model so let’s go ahead and change that let’s do a
width of let’s say 500 and a height of maybe 650 something like that and we’ll
lock that down and raise it up that’s probably good cool all right so let’s
frame in on our sculpt let’s go ahead and make a camera and look through that
camera change the lens to be something like 120 and back it off cuz you know
we’re doing a nice photograph of this sculpture and we want to make sure that
we’re capturing all of its beauty and I’m gonna bring the scale down of my IPR
there’s a nice cool feature about the IPR in Arnold you can you can work with
the scale of the render and the zoom level of the actual viewport so I can
really kind of troubleshoot right now I’m just zooming in on this image looks
pretty grainy because it’s zooming in it’s not actually changing the render
size if I change the render scale to let’s say a hundred percent now I’m
looking at 100% output of my render and I can hold down shift and
drag to get a little render region going but for this it’s pretty straightforward
I don’t think we need to get that nuts with it I’m gonna do like maybe yeah
we’ll do like 49% so we can see what’s going on with our with our model alright
let’s throw a on this guy he is a bunch of different parts like I said so I’m
just gonna apply it to the top level let’s grab an Arnold standard surface
and drag it on to that guy and I’m gonna middle click to open up the Arnold
shading Network and we’re gonna choose like a gold fellow again grabbing a
preset metal and we’ll go down to do to do gold gold gold not really it’s a
little for my taste a bit too green so I’m gonna take the color here of the
speck and just make it a little less green and that feels better to me again
just a personal preference thing not really something you have to do and this
is the the HDRI that we had in there from before and it actually looks pretty
darn good on this sculpture and I’m gonna make this a little bit bigger cuz
I figured why not you can probably hardly see it at home
so alright that looks pretty good let’s choose maybe a different one I’m
gonna try to find one that’s a bit more dramatic this I think is going to be
awesome but it’s rotated in the wrong direction again gonna go in the
coordinates and let’s just zero this guy out ooh yes I like this actually I like
this I like this a lot it’s very rim lit which I dig because it’s really popping
the the subject off of our background but it’s too rim lit there’s not enough
going on on the on the front and there’s just not enough not enough going on in
this HR I can tell there’s just not a lot going on so I’m gonna find something
that’s similar something that has two sides but maybe has a bit more going on
like this one’s not bad but it’s just not dramatic and I’m after some drama
here so I’m gonna go back to that first one because I don’t know there’s
something really cool about this and I’m gonna use this one but I’m gonna
make sure that I’m actually liking the way it’s rotated I’m gonna choose like
maybe 45 degrees yes that’s much better see just just throwing it a little bit
off-center now I’ve got this nice rim I’ve got this like highlight happening
here it’s a bit too bright for my taste so I’m just gonna walk it down in terms
of exposure a little bit yeah that’s that’s looking dope yeah I dig that all
right so I’m not gonna end there we still have a little bit of time left so
what do we get let’s make this better I mean we can always I mean this was too
easy so let’s throw like a ground plane in here and let’s let this ground plane
be like our shiny reflective floor for our nice little studio shot that we’re
gonna we’re gonna send off to some gallery who’s gonna make Patrick gaskey
famous for his awesome sculpture with the big nipples alright so right
clicking in our IPR create Arnold material let’s go ahead and hit ctrl tab
and say surface and we’re gonna make it black so black boom and I like a little
bit of glossy a little bit of roughness on there looks pretty nice right so this
looks good right now yeah this looks awesome perfect done right no not done I
don’t want my skylight to reflect in my floor like that’s not how I want this to
happen it’s ugly that’s just weird-looking so I’m going
to grab my sky I’m gonna jump down into doo-doo-doo project or project I don’t
know whatever whatever you like to pronounce it exclude is on so I’m gonna
hit select and I’m gonna grab my floor and look at that now my skylight is no
longer affecting my floor all you octane users out there very jealous right now
so I apologize in advance so now we’ve got something that I think looks much
much better but it’s still not quite where I want it yet let’s grab a Arnold
quad light and let’s go a quad and I am going to then just walk it straight up
into the air and have it point down go to our main tab and tell it to look
at our Patrick Body Sculpture it’s not actually modeled after Patrick but that
would be pretty funny if it was and we’re gonna add some volumes to this
we’re gonna add some fog to this light because I want like a little bit of like
something in this black I don’t like seeing just all this blackness here so
let’s do let’s try this let’s go ahead and go to my Global’s here jump into my
Arnold in my environment atmosphere it’s got this cool little thing here I mean
they could make it any easier atmospheric volume add that to the scene
nothing happens why is nothing happening well my quad light if you look down here
I believe it is not actually gonna be contributing to volumes is it oh yeah it
is I probably don’t have them on in my actual render settings so let’s go ahead
and turn those on but booray depth volume let’s give it at least one and
let’s just give us a volume indirect 1 ounces from these all to one just to
make sure alright so we need to actually have some volume happening on this light
right now let’s see why is it not showing up it should be showing up it’s
very odd let’s turn that guy on mmm density is at point 1 that’s very
strange let’s turn this off is it showing up maybe it is showing it but
it’s just so low that I can’t help stupid me
stupid me forgot to turn off normalize all right so normalized just because the
light was so small it was definitely having a hard time showing up so let’s
go ahead and give this a little color let’s grab our color temperature and
make it cool so maybe like a 70 200 Kelvin that looks good and I’m gonna
walk it down in the frame a little bit so that it’s a little bit closer to his
head and I’m gonna also make it smaller so let’s just frame up on it and really
just kind of tilt till I’m happy with it which
is generally I’m never happy with anything like this that I’m doing I’m
just too too much of a perfectionist but whatever this is fine let’s bring it up
in intensity and then for this light as well I’m also going to exclude the
ground because I don’t want it to affect the ground all right cool so now we’ve
got something that looks a little bit more interesting although I forgot to
turn on our skylight back on and let’s grab our quad light and we’re gonna
bring the exposure down now this is just again subtleties subtleties they
probably aren’t even I’m not even sure if this is gonna show up at home to be
honest but I can see that this is no longer black this is like a little bit
of a blue a little bit of a it’s just not so stark and I and it’s just all
about creating something that just doesn’t look too too stark so if I turn
this off you’re gonna see I mean that’s kind of a cool look still it’s really
dramatic but it’s just too much I think maybe I went a little heavy-handed on
this fog so I’m gonna knock it down a little bit there I think that’s pretty
good and again this this reflection on the
ground is kind of distracting my eyeballs so I’m gonna grab that and
bring the specular down to where it’s there and we just sort of feel it but we
don’t necessarily it’s not a distraction if that makes sense
because I want the I want the eyeballs to go directly to the sculpture all
right cool so I’m feeling that I feel like that’s looking pretty pretty damn
good so anyway I hope I hope this was useful you know I think when you’re
approaching metal when you’re approaching metal type products whatnot
it’s all about defining the shape through the reflection and having the
right reflection the right environment to reflect your metals is key so yeah
and also I wanted to let you know that the pro studios metal pack that we have
sale for sale on our site this price is about to go up guys
price is not a permanent price of 59 bucks for all these so if you haven’t
picked it up yet you should go do that because this price is probably going to
go up maybe even this Friday so you probably want to get out there and pick
this thing up is it’s definitely one of our favorite H stripe acts and if you’re
doing metal up look there it is that’s more of a coppery color but you can see
I comped it this is heavily comped but you can see
there’s a gradient back here I kind of did the same thing in my render but yeah
so this is gonna be going up in price so you’re gonna want to get out there and
grab that stuff anyway so thanks for tuning in thanks for watching hopefully
this was useful for you and hopefully you’ll start sharing some really awesome
metal renders with me and share you know show me what you’ve created show me some
crazy nippled monster that like I just did so yeah hopefully it was useful and
we’ll see you next time thanks for watching make sure you catch
all of our live streams by checking out and subscribing to our youtube channel
below and also making sure that you head over to our our twitch stream and
subscribe there as well that way you don’t miss out on any of our live
streams alright I hope you had fun and I’ll see you next time

34 thoughts on “Lighting Tips for Arnold in Cinema 4D

  1. Thanks Chad that's awesome… any other tutorials about Arnold would be appreciated, I do learn a lot from you. thanks a lot

  2. Thanks for great video Chad! HDR Link suggestion. I think it would be handy to have default resolution as Preview instead of Full since we all change it anyway as starting point. Do you agree?

  3. Lot's of good advices here, I really enjoyed the video (specially the "Octane users are jalous right now" after exclude the floor from the sky light lol)

  4. Thank you for this Chad. Please keep the Arnold tuts coming, there doesn't seem to be a whole lot around for C4DtoA, especially since it seems like everyone is just posting Octane stuff lately.

  5. Thanks Chad! Very helpful! One thing, i don't have the standard_surface on my arnold, i type surface but nothing shows on. Is this an feature from arnold 5?

  6. Thanks for the tutorial. But now something off topic: I'm looking forward for a tutorial about AOV's, specialy Z-pass. Thanks again.

  7. can i uv map a video texture instead of a single image ,, i tried to use the camera calibration but it just worked for a single image ,, so if you have a way to do that this will be great i hope you answer me cuz i really need that 🙂

  8. Can you tell me what is the title of song in your intro? I know its from but I want to hear the whole song 😉

  9. Question! Chad or anyone, I noticed that in your IPR the render buckets are shown. I don't have that in my IPR, is there a way to activate it? Pretty handy if you are doing complicated or dark scenes!

  10. Can you get cinema 4d on a monthly subscription? (Like you can with adobe products) I’m new to this & wanting to learn, thanks in advance!

  11. thanks for the tutorial and I respect. would you pleas show as how we can use video texture in Arnold material

  12. Dear GSG,
    I'm a student living on loans, I cannot afford the HDR link. Is there going to be any student discounts in the near future? Please give the opportunity to learn 3D modelling for those who are underprivileged. Other than that, I'm learning so much from your other tutorial videos. Thanks!

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