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Software production cycles seem to get shorter all the time. You've hardly had time to get used to Cinema 4D version 6 when version 7 arrives, endowed with many new features and techniques that you need to master if you want to exploit the program's potential.

In order to do justice to the new version, I have not merely satisfied myself with revising and expanding my book about version 6; instead, I have written a completely new book, which is intended to supplement the existing manual.

From numerous reader messages and comments, I know that many readers would like more information about C.O.F.F.E.E. programming and the various modeling methods. I've tried to provide complete coverage of modeling by increasing the number of expression examples and detailed working examples. By doing so, I hope to help out even Cinema 4D beginners.

Here is a brief overview of what awaits you in this book:

Chapter 1

In the first chapter, I'll begin with a brief overview of the software interface and its most important functions and tools. This section is intended to serve only as a refresher, as I am assuming that you have the Cinema 4D manual on hand as a reference.

In the second part of this chapter, we'll launch right into modeling the piston of an automobile motor. Here I am concerned less with the exact modeling of an example than achieving an overview of the various techniques required to master such a task.

Here you'll learn about errors that can crop up, as well asthe advantages or disadvantages of the techniques used in the example.

Chapter 2

In the second chapter, we'll continue modeling the piston with the polygon tools and take advantage of the possibilities of Hyper NURBS modeling. In the end, we'll have a crankshaft complete with connecting rods and pistons, which is all ready for animation.

The last part of this chapter shows you how to use various expressions to animate such a model.

Chapter 3

The third chapter is completely devoted to creating your own C.O.F.F.E.E. expressions. I will present three concrete examples that could never be realized without using expressions. The spectrum covered ranges from morphing to delta expressions. The level is quite advanced here, but the examples are documented line by line and can thus be followed even by beginners.

Chapter 4

How do I model a head? I see questions like this all the time in forums. In this chapter, I will describe all the steps involved in planning and implementing a head object, from the creation of realistic sketches on through to Hyper NURBS modeling. Here we'll use not just Cinema 4D's standard tools, but also additional free plug-ins that can greatly increase productivity and produce better results.

Chapter 5

In Chapter 5, we'll use nearly all of Cinema 4D's tools. While the fourth chapter covers the modeling of organic objects, this chapter covers mechanical and non-living objects. Here we'll model a mechanical upper body to fit the head we created in the last chapter. We will then integrate the whole construct into a complete scene.

Chapter 6

Chapter 6 focuses extensively on the new radiosity and caustic effects, as well as how to work with the newly integrated SLA shader. The communication of the correct radiosity parameters is essential for moderate rendering times and achieving the desired result. Step-by-step directions will therefore demonstrate an exemplary method for communicating optimal settings. In addition, the second part of the chapter teaches you how to work with SLA shaders and shader trees.

Chapter 7

Chapter 7 summarizes, via several short examples, some additional interesting techniques. It also introduces supplementary work in BodyPaint 3D and explains how you can create realistically animated hair in Cinema 4D. Last but not least, this chapter explains the newly integrated plug-ins for reducing polygons and exploding objects.


As always, I have been able to count on the friendly cooperation of Maxon Computer GmbH. Here I would especially like to thank Michael Giebel, Dirk Beichert, Tilo Kühn, Philip Losch, and Joachim Heller, and naturally also all other members of the “Maxon Family.”

For the umpteenth time, I would also like to thank Sebastian Dosch of Dosch Design for his friendly support with demo material for the book CD (www.doschdesign.com). Herbert Fahrnholz of Noctua Graphics was also so kind enough to provide me with exclusive samples of his textures for my readers' consideration (www.noctua-graphics.de).

Many thanks also to Klaus Baulmann of Baulmann Produkt Entwicklung for providing a high-resolution 3-D scan (www.digital-forms.de). This made working with the polygon reducer on a realistic object possible.

Many friends and “fellow fighters” in the C4D community have also provided free plug-ins and demos for the book CD. Many thanks to everyone—even to those I can't thank individually here.

Of course I would also like to extend greetings to all my friends in the C4D-Treff and C4D-Forum, as well as to Ricky, Ulf, and Bernd von Vreel 3D Entertainment oHG, to Jay and Mike of Medienbunker oHG, to nEO from the C4D-Treff, and naturally also to my family.

Finally, many thanks to my colleagues at Addison-Wesley, especially to Angelika Obermayr, Christian Rauscher, and Klaus Hofmann. Collaboration was truly a pleasure.

You are welcome to contact me via my Internet site www.vonkoenigsmarck.de. I'm always open to your questions, desires, and inspiration. As many of you already know, I am also available to provide individual tutoring.

Happy rendering,

Arndt von Koenigsmarck
Menden, June 2001

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