Cinema 4D R13 physical camera test: Lipid Monolayer

Just a test to get up to speed with the physical renderer in Cinema 4D 13. Wondering if it is viable for real animation work. The kind with deadlines.

I am currently getting ~8 min per frame rendering at SD widescreen. Only rendered a short sequence (130 frames) so I looped it a few times.

SSS was turned OFF as it was taking ages for the irradiance thing to cache (this was with optimized SSS settings).

I have 1 bounce for self illumination, AO on, motion blur and DOF on.

At the moment it looks like I still have some more optimization options to explore. Render times feel too heavy at the moment for long-form medical animation (usually between 4 to 10 minutes of HD animation) but maybe Ok for short shots for spots and such. We’ll see.

EDIT 12/01/2011

Continuing my experimentation. Removed sub-poly displacement and put SSS back in. Reduced settings significantly. see below)


Got much faster render times (~2min/frame). Still needs refining. Lighting is all HDRI now so could use a bit more directional light. Turned on reflections as well instead of using an HDRI environment map for fake reflections. Also added a second layer of phospholipids (now its a proper bilayer) and threw a couple of proteins into the dynamics group.

Camera Falloff Example

What started out as a simple test to explain camera-driven shader effects in Cinema 4D to a friend in need, turned into, well I don’t know, THIS I guess. Staring at that Optical Flare in the hazy distance makes me ponder the meaning of existence. Then I just click on a cat video and I’m all better.

But I digress. I’m using the gradient shader in “3D spherical mode” set to camera space applied to cloned spheres. As objects come closer to the camera, they glow. Objects in the distance are dark. A nice way to fake fog in your scenes (and a lot of other things depending on which channels you use it in)

The radius value (below) determines the length of the ¬†gradient effect (left to right, left being the camera which is at the center of the “virtual” sphere). I copied this shader setting into my diffuse channel to darken the objects in the distance.

I’ve done some post work on the clip above which kind of makes the camera falloff luminance harder to spot, but hopefully it makes sense. I got a little carried away.

I came upon this technique maybe a decade ago as described by CG/VFX artist Richard Morris (aka Jackals Forge of Gallerie Abominate fame) on his ¬†website documenting his cg production process for the science documentary BodyStory 2 for BBC. Make sure you check out his work. Although his website is over a decade old, the work still looks great and the information can still very useful to those in the biomedical visualization field. The relevant information can be found in the “Dynamic Shading” section of the article.

Jackal’s Forge BodyStory 2 Tech. Click here for website/article