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Cinema 4D Water Texture Download !!TOP!!

And it becomes very obvious that there is act, there's definitely no depth to this water. You're just faking it. All right. So what's the way around that. Well, there's another channel in Cinema 4D, uh, called displacement. All right. And if we turn off bump and turn on displacement, um, and then in the texture slot here, we can just add the noise. Um, and you'll see, let me close this window over here. You can see that in the preview now we've got this really spiky looking thing. Um, and that's because displacement actually changes the geometry of the object. All right. Um, so let's surrender this and see what happens right now. Nothing happens. Uh, and why is that? Well, there's, there's a few reasons. One is probably the displacement isn't turned up very high, so let's really crank the height of this. Okay. Now we're getting somewhere, um, let me turn that down to two 50 and do a render.

Cinema 4D Water Texture Download

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Okay. Um, the other way to do it is to go into the displacement tab. And down here, there's a bunch of options for sub polygon displacement. Uh, and if you check this on, what it basically does is when you hit render it, subdivides your geometry and then displaces it. Um, so the advantage of doing it that way is you can work with this pretty low detailed geometry. And then when you hit render, cinema does all the, all this work behind the scenes to increase the detail of it. So your displacement map can work really well. Um, and so if I have that checked, uh, subdivision level four is actually high and set that to two. So if I hit render, now, you can see I'm getting a ton of detail there. All right. Um, so this is actually pretty cool. You could, um, you know, you can now come in to this texture here, this noise and click on it, and you get all the options for the noise shader in Cinema 4D, and there's a ton of options.

Um, so with noise, there's two types of animation. Um, there is, uh, there's movement, which is basically taking the entire noise texture and moving it, um, which, you know, that, that, that's a good thing to do for an ocean because G in general, ocean water is sort of drifting in one direction or another. Um, so let's set that up. So let's say it's moving, um, it's moving, you know, uh, in the Z axis direction, you know, so from left to right. Um, and I think it's already set up that way by default, this movement here, this is actually telling Cinema 4D a direction. Um, so all you have to do is, uh, put one in one of these directions and that's the direction the noise will move. And then the speed, uh, tells it how fast it's moving. Now, what I've found is a little bit goes a long way.

All right. It's kind of interesting. Um, another thing to play with is this, this octave setting. So let me show you what that does. If I turn that up, I think the highest it goes is 20. It adds a lot more high-frequency noise, high frequency noise are these little chattering things, low frequency noise, or the bigger movements. If you turn this to one, it gets really simple. Okay. So let's turn it to two straight three, right? And now you're starting to get some just kind of gentle ocean waves. All right. And we could turn it back up to five. Five is where it was by default. And you can see we're starting to get, um, a lot of little, you know, high-frequency, and, and, and what I want to do is try and take that high frequency out and do that with a bump map, you know, let's get the basic movement down using the displacer and that way we can have things rock and, and, and float on this water, but then we can use texture to actually make it feel more like water now.

Um, so I'm just gonna pick, you know, this blue color here. Um, and when I rendered this, you saw another problem, and this is, this is a bigger problem that comes up when you do things like this is that, um, your sky, isn't going to extend far enough down, uh, to hide the scene. Um, and so what, uh, one of the good things about scenery is that I can kind of find, let me make this a little bit longer here. I can kind of find a frame where the water is the lowest, maybe, you know, maybe it's, it's probably here. Um, and I can see the horizon line. That's this dash line cinema showing me, um, that is where by default, the sky ends. Uh, I can go into the scenery object though. And, uh, there's a vertical shift parameter for the sky and I can just lower it.

So now that sky will, uh, you know, will always meet the surface of the water and it kind of feels like we're down in the ocean, you know? Um, which is kinda cool. All right. And, uh, oh, I think I see a little bit poking out there, so I may have to lower a little bit more, or just lower the camera to kind of hide that. All right. Good. Um, all right. So let's turn on reflection on this texture and see, see if that helps. So, um, when you turn on reflection, uh, water's pretty reflective, so let's keep it at like 80 and just do a quick render a suit that looks like, okay. And you're getting, uh, you know, you're getting some nice reflections of the clouds anti-aliasing is on the lowest setting right now. Um, and so that's why it looks very jagged.

Um, uh, but it's also incredibly smooth. It's, it's like Chrome right now. Um, there's another thing that happens, uh, with water and glass, which is, um, the Fenella effect, um, things reflect more, um, at a sharper angle to your eye than they do to like a more oblique angle. So you have to use a, a for Nell shader in the, uh, in the texture. I just realized, I explained that horribly. Um, let me see if I turn for nylon, it'll probably make more sense. Okay. So let's turn for now on, and let's set the mixed mode to multiply and what that's going to let me do by changing it from normal to multiply. It means I can still use this brightness here, you know, to make it less reflective, but the for now will sort of get combined with it. Okay. Um, so if I take this for now and I really crank it back like this, here's what you're seeing at these very extreme angles here.

Um, so you should get some, especially once we add a bump map. All right. Um, so next let's add a bump map. Um, and we're going to kind of bounce around a lot here as we do this. So, uh, I added a bump channel. I'm going to add noise to that bump channel, and I'm going to go into the noise and I'm going to choose, uh, let's try this, uh, the stupid texture and let's just see what it does by default. Okay. So by default, it actually does kind of look swirly like water. It's very, very heavy, and I think the scale is wrong, but you can see that that bump, uh, did some really nice things to the reflections, to the speculars. It kind of broke it up and it doesn't really look like, you know, a blob of liquid metal anymore. It's starting to resemble something that might one day approach being called water. So, um, what I'm going to do is increase the global scale. Let's try a thousand. All right. So we can just get some bigger swirls, thousands too big is now I can't actually see it at all. Let's try 200.

Okay. That's kind of nice. Um, I'm going to turn, uh, now when I, for the demonstration purposes of this tutorial, I don't want to get too far into animating the noise textures and things like that. Um, on the render that you saw at the beginning of this video, all of these noise textures that, uh, that I'm using are animated to try and make it feel more realistic. And those are the things you have to do to get a good water texture. Um, but that would take forever, uh, you know, to do a tutorial for us. So maybe next time, um, but just know that, uh, you would want to animate probably the movement and the evolution of this noise. All right. Now what, um, you know, what, what I'm noticing right now is that I'm seeing some good rippling here with this bump map. Um, but I also kind of want some, some fatter ripples, like this is kind of a sharp ripple.

This is a, this is closer to what water actually does it, doesn't get these big round fat specular heads. Okay. Um, cool. All right. So now, uh, let's talk about the color channel some more so water, you know, it it's, it's not always the exact same color all over the ocean. Um, so what we could do is we could use some noise to kind of make it a little splotch here. Um, but the main thing I'm noticing is that it's just so even there's no shadows to it, um, and there, and it, it just looks too flat even with lighting. It's not really given me what I want. So, um, what I'm going to do is go into the color channel for this material and for texture, I'm going to add a layer shader and just start with a blank layer shader. There's nothing in it.

Okay. Um, so why don't we start with the base color? So the base color for the water is going to be this color here. Um, so I'm going to drag that into my quick storage panel down here, which I like to use. Uh, if you don't see this on your cinema, click this little arrow and make sure show quick storage is enabled, and then you can drag colors to it and they'll pop up, you know, everywhere. And you can, you can save your colors that way. So let's add a shader called color. And when you're in the layer shader, you click on the little icon next to the name of the shader, and it takes you to the options for that. Um, so let's open quick storage and click that blue. Okay. So we're starting with blue. So now we're basically back to where we started now on top of the blue, I want to add a, for Nell shader.

We can just play with the opacity of it. So it just, it just affects it a little bit. Okay. And if I turn that off and do a render and then turn it on, you'll see. It's a subtle thing, but it just helps with the contrast a little bit. Okay. Um, cool. So as far as the texture goes, this could use a lot of work. Um, you know, I'm going to show you one more trick and then I want to show you how to make the word float, actually float on the water


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