Hello, everyone. We are again and I'm going to start making the glasses. But first of all I wanted to kind of tweak this model because I feel like the curvature right here on this one bottle isn't really as nice as it is on that reference image. And that's easy to fix. I just want to show you how I would have done it. That's nicer.

I'm going to show you two, just explaining what what splines do or how they how they work in cinema. If you go into the spline attributes, you see this type right here and it's set to bezzie a. And there's there's different ways of different types of spines bezzie A's, you know, the easiest one because it has the handles, it can do you know either Heart interpolation or soft interpolation to go back to display with lines, I can show you what is going on I'm actually going to turn down the amount of subdivisions back to was 24 around there. Okay. So, and in in a spline there is the type of spline which can be changed by bezzie. A is the most useful for this kind of stuff.

There's also this area right here, intermediate points. Now what that means is they are the points in between the points that have been set. So there's the points that have the handles, right here and everything, but there's always like all the points that happen along the curve of the spline, between those two points and all that kind of stuff. Those are the intermediate points that Talking about and it's different ways for it to to create those intermediate points and by default is set to adaptive. So that means it adapts, it sets the amount of intermediate points based on the curve of the spline and everything. The way it shows up right now are in these four horizontal lines right here and these three ones.

So these three, these four lines are kind of being created by the intermediate point system with the spline and if I without changing adaptive, if I just change the angle, I'll make it smaller, you'll see how these points get increased. If I go to zero degrees, and the angle it gives you a lot or a lot of intermediate points. And what it's saying is the angle of the spline if it goes higher than right by default five degrees An intermediate point gets set. So because this angle is created right here in this curve, and it's greater than five to five degrees, I bring this back up. These points have been set. I mean, that's cool to know.

But adaptive is the best way that it shows up in renders. And if you want to add more detail to this bottle, and you're using adaptive, the adaptive method as your intermediate points, you can just turn down the angle from five degrees, zero degrees, and you can see how that gets made. So basically, what you're saying is when the angle and the angle zero degrees, that adds a point. So it basically it has a point for everything. And that gives you a lot more resolution in the curve of the spline. Obviously, if it was more of a complex shape, it would be a lot more rendering intensive, just because of the amount of lines that it's created.

That's kind of what it's that's what it's saying and intermediate points is Adaptive is the best default and if you want to add more resolution just turn down the angle to zero. And that is a pretty nice looking organic wine bottle. I like that curve now too. So great. I'm gonna move this over and we can start making the wine glass and wine glass can no I wouldn't worry about our visual reference for that. uncheck this plane and just start with the pen tool.

Whoa, whoa. Okay, that's like a bowl. I can't actually can just scale this down to that's not gonna help it though. I'm scaling down to lay the object not the splint of scale the spline down. That's, that could be a problem too, just because of scaling the thickness of the glass down and everything. Okay, so it's a ball.

That's not what we want, but just needs to be tweaked a little bit. Um, it's really just about bringing in these two points, I think. Okay, it's too big right now, obviously, but just looking more at the proportions. Have them have the ball of the glass and the neck and everything. Making sure it looks like a wineglass. This is more of a you know, this is kind of a test and just building things that have an image of what you have in your mind of something.

Which can be really helpful because yeah, I could have used a visual reference and done that. But it's also kind of helpful to just make something like that and see how close it ends up being. And in that process, you can practice on creating things from scratch. So when I say like that there's a little bit of a roundness and lip area of a wineglass I want to recreate, I think really like to do is just this handle right here, just kind of give it a little bit more like that but then also rotate it just a little bit and then gives like a nice little lip to it. I think that's kind of I would look right. Maybe even some more actually.

Cool like this 360 again, increase the amount of subdivisions in the lead object just to 64 already turned the intermediate points down to zero degrees. So so that's already set. And then you go, Oh, let me get a second one. Oh man, that'll take so long to do. Cool. And just double click these layout objects to rename them.

And we have our wine bottles and wine glasses. So I'm gonna just go in and place it kind of like that. Really just for fun. I'm going to just put a light in the scene put, put a ground plane on and just send this see how these end up looking without any glass materials, but just how they look as you know, kind of clay objects basically at this point. So I'm gonna go in here and add a plane. Just give it let me do one thing.

To show you a really easy way to make a studio really quickly, just by making a they're called Sykes where they're basically you seem a lot in film studios, but they are a type of sloping floor that there's no corner between the floor and the wall. So it just kind of it goes through the floor and then slopes up into a wall and you don't ever see the corner of that. And that's it gives a sense of kind of a, you know, seamless White Room. That's really, it's just a kind of pleasing thing to have. And that can be achieved really easily with just a plain object and the bend deformer. If I make the bend deformer a child of the plane object and then I go to the bend object and select fit to parent so it fits itself to the plane object.

And if I just increase the size in the y direction a little bit because it's since there's a plane out there jected technically, has zero height and get a little bit more height. And then I can just bend it like this, obviously, it's not gonna be what you want. So it needs to be rotated 90 degrees like that. So you can see how it slopes from a floor to a wall really nicely. And then if I go, let's say, you just kind of change the size around to be more like that. Give it more in the y direction, like that.

And then rant down like that. Let's see. I actually think it would be nice to have more like a smaller band, kinda like that. Yeah. And then I can add more subdivisions in the plane object or segments really. To give it more of a more kind of resolution to give it a more gradual curve.

Great can move the bend forward to great. got that going here and drop an area light in. I'm gonna do a thing that's really nice. You're gonna love this tag. So I drop a null object and which is really just a point in space and you can see what jumping in and it doesn't really show up. It's just actually, that point right there.

That is the null object. I'm going to call this is light target, you can call whatever you want. What I'm going to do is select this light and right click and go to cinema 4d tags. Down here, there's a thing called target tag. Now what that is, is you can drop an object in this field right here a target object. And this light because it has this tag will point directly at it.

So if I drop this no object into the target object field, you see how the light changed. But what's really awesome is once I move this, no objects around, the light will point to it. So I'm going to put the null object right in the middle, on the ground, in between the scene like that and I'm actually going to turn around. And while we can place in a placing this stuff at some point anyway, so I put a target tag on this light. So now either I can move the null object around or I can just move the light around. And it'll stay pointing at that no object.

And you can be anything I just made this an object so it's, it makes it easier. You can put anything in that target object field and it'll follow it it makes it really helpful to just be able to place lights really quickly like this. and not have to worry about like moving them rotating them like all that kind of stuff. It's can be really annoying. And and then once you get the lights set up, you know you can move this and just tweak the actual target. And obviously I can have more than one light in the scene, have the have a target tag and have it in the same way.

Target Field and the light target be in that target object field for all the lights. And so it makes it really quick, really easy and quick way of of creating the studio setup where the lights are pointing right at the object that you want it to. So I'm gonna do that, place the light right there. And there we go in light attributes. I'm going to do area shadows, and then turn on going to the Details tab and turn on fall off to be inverse square. And then increase the distance of the fall off to be right around or the edge of these objects.

And I've got a quick scene now set up. Now that I have this light set up the way I want it to with shadows and fall off turned on, I can just hold down Command and drag that move tool Make a copy, make a copy of that light. And then the target is still and then also has the target tag and the shadows and everything turned on the way I like it. Let's move this away a little bit to give it some more drama. Got that I'm gonna drop a camera in the scene. When you whenever you hit the camera button, it drops it in the exact spot where you were looking when you hit the button.

Just so you know. And then this crosshairs right here and activate the camera to look through it. And I can just move the camera in to give it a spot and I like like that. And then just you know, can go into the camera settings right here and the object. And in the object tab right here Do you have a focal length, which has a drop down or you can type fields and values in But the 36 millimeter focal length is like it says a classic length normal lens is it would be considered 50 millimeters, which is kind of like a prime lens that you would use to take portraits and everything which I think is a really great starting point for framing up your camera shots and you can see how if you change these focal lengths like how that how the camera view changes, you got to be looking through the camera to see this crosshair has to be white for the you to see those changes.

Right there is already I think a pretty good framing for the shot. That's not bad. This is no materials added or anything but I would actually like to to Direct on like that. Like that, go back to the camera view and hit render and see what it looks like. That's getting pretty nice. It's like that kind of, you know a little bit of a dramatic light coming on and what I'm going to do is go in here and turn on the interactive render region.

So I've got a place to see the changes that I made because what I want to do is go into the light on the left and change the General tab and change the color to be a little bit a little bit cooler. Maybe even more. But then go to the light on the right and make that warmer. Just give it some, you know, more interesting, just a white light. I think actually the light on the left is too close. That's too far.

But I know I can just change the radius of the fall off and actually I can see I can't just change it right here because it's in the shot without having to go in To change the intensity, I'm just changing the distance of the fall off. Once you add a glass material, it's going to increase render time. So you can start with a just, you know, the clay, basic default materials on these objects to get the lighting, right, and the renders are really quick. And we're going to add a label, like no wrapping right here and everything and then label right here. But this is just to kind of get a general sense really quickly of how these objects are going to look and how you can start to just think about the framing of the final shot, you know, because it could be you could do it this way.

I mean, this is the thing you can just mess around right now and and frame the shot that way you want before we really get into the materials and the labels and everything and render time. increases. So there's just that option as well. Obviously don't want to put that in the way of the label. That's good. That's a good start.

Next thing we're going to do the class materials and start messing with the label and I'll show you the process of getting an image mapped onto a label that can be designed in Photoshop. Okay, great. See ya.