40_julio_2007 by Hiba Dweib

Table Of Contents July 2007

Page 3

Editors Notes

Page 5-9

Interview with Author and Artist “Anne Powers” by Thomas Pasieka

Page 10-16

Boxmodeling a Character Part 2 by Mark Gmehling

Page 17-23

Basic Modeling - Gazebo by Bram Van Gerwen

Page 25-29

Skyboxes Tutorial with CINEMA 4D by Thomas Pasieka

Page 30-34

Special Specular Tutorial by Rui Batista

Page 35-38

Modeling a Violin - Part 2 - The Parts by Mark Glass

Page 39-42

Prize Fight II - Round 2 by Tavy Pasieka

Page 43-46

Best of CINEMA 4D Gallery

Page 47

CINEMA 4D - Frequently Asked Questions

Page 48

Contact Information

Editor Notes July 2007

Hey Attackers!

CINEMA 4D ONLINE TRAINING - CINEVERSITY

BUSY BUSY BUSY! We are always trying to find time to relax a bit during the summer months, but it's as if we never seem to accomplish it. It's a good busyness though. We love our work here at 3D Attack and we love bringing you, our readers, 3D Attack - The CINEMA 4D Magazine every month. This is why it's so important for us to receive your feedback. Always feel free to drop us a line with your comments, questions and/or concerns to 3dattack@3dattack.net.

Now Over 600 Tutorials on Cineversity!

KEEP ATTACKING! The 3D Attack Team C4D R10 SERVICE UPDATE The Update to R10.111 addresses several problems, that have arose in several areas of the software. The update is free of charge for all owners of CINEMA 4D R10.x and recommended for all users. Get your update at www.maxon.net EDGESHADE EdgeShade is a pack of two shaders for CINEMA 4D 9.6+. SoftEdge enables you to easily soften hard edges on your objects. DrawEdge gives you advanced control for drawing wireframes of your objects. You can find out more about EdgeShade and other great plug-ins by Chris Montesano for CINEMA 4D at:

As of today, there are now over 600 tutorials live on Cineversity! At only $295 to join, that calculates out to less than 50 cents a tutorial! http://www.cineversity.com/ GOODIES All of your goodies for this and previous issues of 3D Attack - The CINEMA 4D Magazine can be found here: www.3dattack.net/goodies/

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TUTORIALS

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If you have any questions or comments regarding the tutorials within the magazine, please feel free to express them on or CINEMA 4D discussion forum at www.3dattack.net

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CALLING ALL WRITERS

The 3D Attack Team

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Interview with Author and Artist “Anne Powers” By Thomas Pasieka

Thomas: Hello Anne! Thanks so much for taking time to speak with 3D Attack and share more about you and your work with our readers. Can you share a bit about who you are and what you do with our readers?

my company, Anniemedia. So, saying a fond farewell to teaching, I’m fairly giddy about being able to focus on making art that tiptoes back and forth between the digital and traditional.

Anne: Hi Thomas, thanks for having me! 2007 finds me beginning my second career. After being a Designer, Illustrator, Painter and Sculptor, College Art Professor and head of a college Computer Art and Design program, I “just want to be an artist and animator when I grow up”. I’m freelancing a variety of 2D and 3D projects (especially motion graphics), design and illustration through

Anne: First of all, I think MAXON does a great job of listening to their user base and making improvements on an already solid application. The CA improvements between Mocca 2 to Mocca 3 were pretty dramatic (yes, they needed to be).

Thomas: Having now penned two books for CINEMA 4D, "CINEMA 4D: The Artist's Project Sourcebook" and "CINEMA 4D: The Artist's Project Sourcebook, Second Edition", what are some of the biggest improvements you've discovered in C4D?

The redesign of the Timeline and Scene Management has certainly made animation much

Interview with Author and Artist “Anne Powers” By Thomas Pasieka

more intuitive, and we can’t help but appreciate even the little things like more drag and drop capabilities and being able to set keys by clicking on the small red circles. Since building up rich materials is my favorite thing, I loved the materials improvements that happened back in the V8 era. The addition of the MoGraph module has probably been the most exciting thing for me.

Not only does the reader learn, but finds they are actually entertained. What do you attribute this to? Anne: Love. I am totally, passionately in love with the potential of 3D tools for making art. The tools and techniques are just a means to the creative end, so I guess my excitement about the fun of the creative process helps to mask all the inevitable technical steps all digital artists find themselves having to plod through.

Thomas: Over the years I've read many training books, manuals etc. and though I learned much, I found myself bored much of the time. Your writing and teaching style is a breath of fresh air. 6

Interview with Author and Artist “Anne Powers” By Thomas Pasieka

I was lucky to have some very valuable experience at the Stanford New Media Academy (which evolved into the Digital Media Academy) developing curriculum for the C4D courses I taught there.

For those with traditional interests, and all 3D artists really, I can’t emphasize enough the importance of beginning your work in an old fashion sketchbook. Sure, you can sketch very nicely with programs like Studio Artist or Corel painter on the computer, but all things considered, there’s nothing like grabbing a real sketchbook and whacking out some messy drawings in a very unfettered, unsacred way. Ideas just seem to flow better, so a sketchbook kept by your bed for late night or early morning brainstorms is great helper for your 3D process.

During that thought process and teaching experience, it became very clear to me that if artists (right brained creatures that they are) learning 3d are faced with long, ponderous technical instructions and theory they become immediately, visibly frustrated and bored. From that came my mantra: keep the steps short and simple, and make it fun! I should also say, my wonderful editors at Focal Press were great not to force formality on me. I was able to just be myself, and so the book does have an informal, playful tone.

Thomas: We know that you use CINEMA 4D, are there any other 3D Applications you currently use or have used in the past? Anne: Ha! Why didn’t you just come out and ask how old I am? Well, I was animating sprites on my Vic Commodore, then Mac 3D, Strata, 3D Studio Max, Hash, Maya and many others. I adore Zbrush and hope to live long enough to climb further upward on its substantially steep learning curve. I would still use Maya some, but my workflow is just faster and easier with C4D most of the time.

Thomas: Do you think your training in Traditional art (media) affects your Digital work? If so, how? Anne: Oh boy, this question sums up everything I do. I still make traditional work, in fact so many hours at the computer make me hungry to get down in the studio and mush paint around and build assemblages. And more often than not, I photograph the traditional surfaces and bring them back into the 3D environment and use them as textures. For me, (and the Computer Art and Design program that I headed up for a number of years), it has always been about the cyclical relationship between digital forms and the rough, the loose, the itchyscratchy, the glitter, the painterly-ness or grunge of the traditional art world.

Thomas: Why CINEMA 4D? Why dedicate two books and years of teaching to this specific software application? Anne: Having been ‘round and ‘round the 3d block awhile, and after teaching many college students 3D with a number of applications, there’s no doubt in my mind that C4D is the most intuitive. Students and professional users can get down to the business of making art sooner, with the least amount of techno-frustration. That’s what it’s all about. Add to that the supportive and accessible nature of MAXON and the reasonable, generous 3rd party base. For me, C4D is the most powerful creative tool at the best price.

I also enjoy bringing the altered art mentality into the 3D world. So these kinds of interests make for a totally different look in 3D work. These surfaces can now be made so successfully with 3D software, and artworks are made exponentially more exciting when combined with animation, unlimited by the physics of natural laws in the real world. For me, this synthesis makes for the ultimate creative experience. It’s fun to look at the work of a phenomenal artist like Dieter Roth (google him to see some of his work) and think about how his work might have translated into 3D.

Thomas: Art is ever evolving. In the past 30 years have you seen any changes in the way art is taught? Anne: Obviously, desktop technology and the birth of the Internet have caused huge mutations 7

Interview with Author and Artist “Anne Powers” By Thomas Pasieka

in education of an individual. Now the technical instruction, history, theory, philosophy, images, reference material, and all the other details professors once doled out are instantly available. The exhibition of art and animation in venues like Atomfilms and YouTube give today’s student an up-to-the minute view of the art world and the chance to go viral with their own work in an instant. More importantly, the real time sharing of ideas across the globe gives a student the broad picture, not just one teacher’s view.

Thomas: Ok, this may be a broad question, but it’s one that is often asked and you definitely qualify as one whose opinion is valued; is 3D art? Anne: As with all other art media, from words to film to paint to dirt to tin cans, it’s not what the media is but what you do with it. The 3D sites are chock full of examples of 3D work with breathtaking technical excellence and no soul. So if the definition of art is communication, what these kinds of pieces are communicating is, simply, “I am a picture of something ( a car, a girl, a spaceship, whatever) done in a technically slick way and, hay!... my maker knows how to craft 3D with some degree of competence!” We could still say that this is “art”, still to be admired and appreciated, but more in the realm of technical art rather than “fine” art.

So now the professor becomes more of a facilitator for the lifelong selfeducator. The best ones may do nothing more important than impart the energy and passion of making art so all that technology and information at the student’s fingertips can be used for personal, vital expression. On a more specific level, I can use my own book as an example. On the DVD are numerous “learning tools”, tools that could not have existed in previous eras.

3D is increasingly becoming an engaging media for fine art, or that which challenges our perceptions and gives us a new understanding of the subject, introduces some mystery to be contemplated by the viewer, making us think and feel beyond just “here is a well done picture of something”. Go to Siggraph and visit the galleries. You’ll see many varieties of energetic art, art vibrant with idea and expression, that will make you want to scream “Yes, oh yes, 3D IS Art!”

The C4D Teacher Files are annotated C4D files that take you step-by-step through making objects,or the instructional movies walk you through a process. It’s great to have these new ways of learning in the digital world, as not everyone learns best by reading instructions in the text.

Interview with Author and Artist “Anne Powers” By Thomas Pasieka

I am rather amazed at the success that 3D is beginning to enjoy in fine arts galleries across the world. Archival prints of fine art digital imagery are bringing astounding prices in galleries. In the early days of 3D, we were severely limited by the tools. Everything looked so clean and sterile, so style was limited.

Anne: Dig deep about what you’re going to say with your hard earned media skills. Sure, you have to do a ton of technical and technique homework so you can communicate fluently, but if you want to truly engage your audience, even more effort has to go into the development of content and your uniquely personal ideas.

Those days are over. I am planning an exhibition in which I will build art environments and objects out of real materials. Then I will make the same objects in a 3d environment through which the viewer can navigate.

An important part of this process is being a holistic learner (as opposed to only wanting to learn about 3D or art). In order to be able to develop interesting content, you have to get out there and open up to your world, learning about a myriad of topics, philosophies, ways of thinking, lifestyles, and issues.

Naturally, I’ll be able to defy reality in the 3D environment, while the “real” version will have the advantage of that good old touch and feel. Visitors to the gallery can compare the experiences.

Thomas: Once again, thank you so much for taking time to share with us. Your dedication to the CINEMA 4D community and to your students has gone far beyond the call of duty. We wish you the best and look forward to what the future brings your way.

Thomas: Can we expect to see more books in the future? Anne: Time will tell. I am always interested in sharing in some way, but at this point, I will probably be more interested in collaborations, DVDs or small projects.

Anne: Thanks for 3d Attack! I’ve been a fan from the beginning! You guys are right on! If anyone wants to email me at:

Thomas: There are millions of aspiring artists across the globe. If you could give them one piece of advice, what would it be?

annepowers@mac.com

Boxmodeling A Character - Part 2 By Mark Gmehling

Hi there attackers, this is the 2nd part of the box modeling simple characters series. You'll be able to follow this tutorial with every C4D version from Rel.6 up, although some steps as adding loops with the knife tool or loop selecting etc. are more time consuming with versions below C4D Rel.9.

In this issue I want to finish the modeling of the character and prepare it for painting in Bodypaint. I'll begin Part to by adding an animatable mouth to the character. As the mouth is placed in the middle of the character I decide to make the symmetry editable. This enables me to have a straighter forward modeling job with the mouth cavity. Later I will delete half of the points again and use a symmetry object. This again leaves us with less work during UV unwrapping in BodyPaint.

Before I inner extrude I bring the points roughly in mouth shape by switching to point mode and using the slide tool (MO). I take a look at my sketches to check the shape. I notice the overlapping part of the lower lip and decide to add some loops at the bottom area of the rocket character before tweaking points. So I loop select (UL) the bottom in poly mode and extrude inner (I) two

Ok, I select the symmetry object and make it editable by hitting the C-key. After that I switch to poly-mode and select the polys that will define my mouth area (Image 01).

Boxmodeling A Character - Part 2 By Mark Gmehling

times. After that I bring the mouth points into shape, as planned before, with the slide tool (MO). You may notice that I pulled the upper point row down because I want to define a sharp corner at the mouth angle (Image 02).

Now I have a clean view on the areas I need to tweak and I'm sure no other geometry will be affected accidentally. I begin with tweaking the overlapping chin area by using the move (E) tool and the scale tool (T). With the slide tool (MO) I bring the lower lip points close to the chin to define a quite hard edge there. I don't care too much to tweak the left and right side 100% symmetrical at this point because I'll delete one half of the model later and put it back into a symmetry object. To bring in the mouth cavity I live-select the polygons that will make the cavity in poly mode (Image 04).

Now it's time to model the overlapping part. To do this I decide to hide the geometry that I want to leave unaffected. This allows me an easier job when selecting the points that I want to tweak. 04

So I switch back to poly mode and select the polygons that will be tweaked to define the mouth and the ones that I need for reference. With these polygons active I got o selection- hide unselected. (Image 03)

I extrude these poly inner (I) two times to be able to model a nice lip rounding later. After that I extrude the still selected polys (D) to add the hole I need for the mouth cavity. In the coordinates manager I set the z-size of the selected polys to 0 to align and flatten them. Then I scale (T) the polys to fit in the body later (Image 05).

In switch to point mode and with the knife tool (K) in loop mode, I add a cut half the way of the extruded polygons. I select the points of the added cut with the loop selection (UL) and scale it bigger to add a nice rounding to the mouth cavity (Image 06). Now it's time to make the hidden parts visible again. I switch back to polymode and go to selec11

Boxmodeling A Character - Part 2 By Mark Gmehling

tion, unhide all and the whole mesh appears again. At this point I recognize that the mouth is a little too small. But before I fix that I'll bring in symmetry again by going to top view (F2) and rectangle selecting the left half of the model (make sure "only select visible" - it is disabled in the attributes of the rectangle selection tool).

Then I hit backspace or delete to delete the selected half. I create a new symmetry object and I'm done. If you encounter problems here make sure that the points along the z-axis are all lined up correctly by selecting them and setting their xposition AND x-size to 0 in the coordinates manager (Image 07) 12

Boxmodeling A Character - Part 2 By Mark Gmehling

To bring the mouth to the correct size I use the hide possibility in the selections menu again. I select the polys I want to scale and go to selection- hide unselected.

You'll notice that the half generated by the symmetry object stays visible, as it isn't selectable anyway. In front view (F4) and point mode I select the points that make the mouth angle and upper lip and bring them up with the move tool (E) (I use the rectangle selection here and select the cavity points of the mouth also). Step two is moving (E) the right side of the mouth more to the right to make the mouth bigger. In poly-mode I go to selection -unhide all and bring the rest of the geometry back. The mouth proportions looks much better now (Image 08) 13

Boxmodeling A Character - Part 2 By Mark Gmehling

Time to add the teeth: I create a cube and make it editable (C) with its default settings. With the scale tool (T) I scale it smaller to meet the dimensions of the teeth in the sketch.

The last thing I want to add is the exhaust of the rocket character. I create a tube and adjust its settings, as you can see in (Image 10). With the move tool (E) I bring it into place and make it editable (C). Before I can drop it next to the teeth I go to front view (F2) and delete the left half of its points to make it ready for the symmetry object.

In poly mode I delete the left poly directing in xaxis and set the left points of the cube to x=0. After that I drop the teeth-cube in the symmetry object next to the body geometry. I move (E) the right points more to the right to define the length of the teeth row and adjust the height a little bit to get a very slight rounding (Image 09).

Next to that I go to structure- optimize to weld the cap points with the points of its body to make it ready for correct nurbing (Cylinders and tubes caps points are not welded by default). The points that poke through the rocket characters mouth cavity are moved (E) down. Furthermore, I tape the lower end of the tube by selecting the lower two rows of points with the rectangle selection and scale it smaller (Be sure to set the modeling axis x of the scale tool to -100% before doing this in the scale tools attributes) (Image 10 and 11)

13 11

To give it a little bit more of a sharp edge I use the knife tool (K) in loop mode and add a cut.

To add a little bit of detail to the model I decide to add some bolts to the exhaust. A quick way to that is by creating a cube and making it editable(C) with default settings and scaling (T) it into proper dimensions (in this case about 7 meters). Then I just drop the cube into an array object and adjust the arrays radius in its properties and move the array (E) down to the lower end of the exhaust). I adjust the count of copies and fine-tune the arrays radius to make half of the cubes intersect with the exhaust geometry.

Boxmodeling A Character - Part 2 By Mark Gmehling

The last step I want to do now is collapsing the amount of objects and generators. After that I'll set up selection for easier UV unwrapping. These selections will also come in handy when it comes to weighting the mesh later when we rigged it (Image 12).

leave the eyes unaffected, as I want them as separate geometry later. The only thing left is the BOLTS object that is not mirrored by the symmetry object. I leave this separate as well for the moment and begin adding poly selections.I start with the arm, go to poly mode and select all (ctrl/ apple a) polygons and go to selectionset selec-

First thing I want to do is to make the array editable by hitting c...the result is a null with 14 cubes in it. I select all the cubes and right-click and connect them... a new object is generated and I delete the whole array and call the new object BOLTS. Now I make the symmetry object of the arms editable (C) and drop the arms into the container where the teeth, body and exhaust tube is. I

tion and name my selection ARMS. Same for the teeth, I select all teeth polys and go to selectionset selection and name the selection tag TEETH. Same procedure for the EXHAUST and for the BOLTS. For the body I use the live selection to select the polys of the inner mouth and set a selection called INNER MOUTH. After that I select all body polygons, use the "deselect polygons"

Boxmodeling A Character - Part 2 By Mark Gmehling

function of the INNER MOUTH selection tag and store another selection named BODY (make sure the INNER MOUTH selection isn't active when you set the BODY selection!)

acter in BodyPaint. We will also set up the skeleton for rigging. Don't hesitate to post on the forum if you have any problems following the tut or if you have further questions.

The last step is connecting the BODY, EXHAUST, ARM and TEETH geometry by right clicking- connect. Your object manager should look as you see in PIC_13. The eyes and the BOLTS objects are the only parts that are still separate. The eyes will be constrained later when it comes to rigging with a parent constraint tag, and the bolts will be added to the mesh when I'm done with unwrapping the model (Image 13).

Keep Attacking! -Mark

I hope you had fun following this tutorial and take part in the next one to unwrap and paint the char16

Basic Modeling - Gazebo By Bram van Gerwen

The base of the gazebo will be a very simple object. The details will be added with the object around the base. Create a Cylinder, set its Radius to 200, its Height to 80 and its Rotation Segments to 6. Go to the Caps tab, enable the Fillet and set the Segments and Radius both to 1.

of the pole spline, about -200 on the X-axis. Drop the spline into the Extrude NURBS object. Change the last Movement field in the Extrude NURBS object attributes to 4. Now that we have our support change the Z position of the Extrude NURBS object to 3 in the coordinates manager and apply.

Switch to Front View (F4) and use the Draw Linear Spline tool to draw a spline like in Picture 1. You can look at the grid to create it exactly like I did. If you use another view you won't be drawing the spline exactly on one of the corners but against one of the flat sides which is not what we want.

We want a double support on every corner. We can do this with a Symmetry object, but first create a Null Object and drop the Extrude NURBS object into it and rename the Null Object to 'Roof Support'. Create a Symmetry object and drop the Roof Support object into it. In the symmetry object properties set the Mirror Plane to XY.

This spline will be used to create the multiple supports for the roof of the gazebo. Create an Extrude NURBS object and move it to the centre

The addition of the Null object in this hierarchy will allow us to further detail the supports later on by

Basic Modeling - Gazebo By Bram van Gerwen

just dropping the additions into the null object and they will automatically display on all the supports.

Let's make an armrest now. Switch to Top View (F2) and use the Draw Linear Spline tool to create a spline like in Picture 3. If you miss-click a point and it ends up not being where you want it, you can simply continue drawing the spline.

You should now have a double support like in Picture 2 (left). To put them on all corners we're simply going to use an array. Create an Array object and drop the Symmetry object into it. The default array settings give a bit of a strange result when you do this.

After you're done that grab the misplaced points and move them to their correct locations. Also note that I drew the spline a bit crooked here and there, this is ok as it really won't be noticed in the final render.

The symmetry object, which is now the parent of our group is at the 0 axis position so the Radius of the Array must be set to 0 also.

When done, create an Extrude Nurbs object and drop the spline into it. At default the Z movement value for this object is set to 20, set it to 0 and set the middle field (Y-axis) to 4. You can now change the Y position of the spline to 125 to get the arm-

Then lower the Copies to 5 to get the supports on the corners of the gazebo base. Result in Picture 2 (right). Rename the Array object to 'Support Array'. 18

Basic Modeling - Gazebo By Bram van Gerwen

rests to an acceptable height. Rename the NURBS object to 'Armrest'.

To make the gazebo look less simplistic we can add some details to the sides. Create a tube object, set its Inner Radius to 23, its Outer Radius to 27, its Height to 4, set its Orientation to -Z, also enable Slice in the slice tab.

Next up is the roof. Create a Tube object, set its Inner Radius to 90, its Outer Radius to 255, its Rotation Segments 6, its Height to 4 and set its Y Position to 465 in the coordinates manager.

Then move it to Positions X 66, Y 98, Z 175 in the coordinates manager. Now make the object editable and use the Optimize function. Rotate the view so you can see the square bottom caps of the tube.

Make the object editable and optimize it with the Optimize function, some primitives need this step in order to attach the caps to the rest of the object. Now switch to the Polygon tool and using the Loop Selection tool select the thin outer edge, move it down along the Y-axis until the slope of the roof is equal to the slope of the support poles. To adjust the shading on the roof set the phong tag to 10. Rename the Tube object to 'Roof'. Result in Picture 4.

You will notice that these polygons are triangulated, switch to the Polygon tool and select those triangular polygons. Now use the Untriangulate function and click apply. Now that the bottoms are quadrangles we can extrude them downwards. Use the Extrude tool, set its Offset to 140 and 19

Basic Modeling - Gazebo By Bram van Gerwen

apply. With the object still selected use the Duplicate tool. Set it to Copies 5 and enable Generate Instances. Set the Mode to Linear and enter -26 in the X field and set the others to 0 and apply. You can see we have created a nice arched support for the armrests.

with values of 60. So for the first instance enter a value of 60 into the H Rotation field in the coordinates manager and apply. You can copy/paste this instance and change its value to -60 and apply. Paste it again two times with values of 120 and -120 respectively. After this is done we will have nice arches under all the armrests like in Picture 5.

To duplicate these supports create a Null object. Don't move the null object from its center position, drop the tube and its copies we made into the null object. Rename the null object to 'Arches'.

Let's create a couple of wooden steps using only a couple of cubes. Create a cube, set its Sizes to X 4, Y 28, Z 92, and set its Position to X -70, Y 20, Z -216 in the coordinates manager.

Create an Instance object of the Arches object (Objects -> Modeling -> Instance). Because the instances refer to the null object we can easily duplicate the instance we just made and rotate it 20

Basic Modeling - Gazebo By Bram van Gerwen

Make the object editable and switch to the Polygon tool. Select the polygon on the outer end of the cube, drag it down over the Y-axis until its value is about -60. Copy/paste the cube and change the X Position of the new one to 70 and apply.

The most important features of the gazebo are now in place, except for a place to sit down. We're going to make a simple bench we can duplicate and place in the gazebo. Create a rectangle spline, set its Width to 180, its Height to 40, enable Rounding and set the Radius for it to 20, change the Plane to XZ. This will give us a bench with nice rounded sides. Create a Extrude NURBS object and drop the spline into it.

Now we can add some simple steps. Create a cube, set its Sizes to X 170, Y 4, Z 30, and set its Position to Y 15, Z -195 and apply. With the first step in place we can simply use the duplicate tool to make the rest.

You may have noticed that, by default, the extrude NURBS object enters a value of 20 in the Z field, set this value to zero and change the middle field (Y-axis) to 4. Set the Y position of the Extrude NURBS object to 80 in the coordinates manager and apply, this is the height we want the bench to be at, we'll move it back to the side later.

Use the Duplicate tool and set it to Copies 2, set the Mode to Linear, set the Position fields to 0, -20, -30 and apply. Select all cubes and instances created for the steps, group them and rename the group to 'Steps'. Result in Picture 6. 21

Basic Modeling - Gazebo By Bram van Gerwen

Create a Cylinder, set its Radius to 13, its Height to 41, its Height segments to 3 and its Rotation segments to 24.

Make an Instance of the bench group and give it a H Rotation of 120, and set its Positions to X -115, Z -65 and apply. Because of the size of the bench we can only place three of them. Copy/paste the bench instance, change its H Rotation to -120, and set its X Position to 114 and apply.

Then set its Position to X -70, Y 60 and apply. Now make the object editable, switch to the Polygon tool and, by using the Loop Selection tool, select the middle loop of the cylinder. Change the X and Z Size of this selection to 17 in the coordinates manager and apply.

The Gazebo is basically finished now, but we can continue adding a little detail to make it more appealing. For instance, let's add an extra layer to the roof.

Now simply copy/paste the cylinder, switch to the object tool and set its X Position to 70 and apply. Select the two cylinders and the Extrude NURBS object we created for the bench and group them (Alt-G). Rename the group to 'Bench' and set its Z position to 135 and apply.

Copy/Paste the Roof object, set its Y Position to 523 and apply. You can use the Scale tool and simply click-drag in the viewport to scale the object down, make sure you have all axis enabled and the two roofs don't intersect each other.

Basic Modeling - Gazebo By Bram van Gerwen

We can make the supports look more sturdy by adding some cylinders that connect the two together. Create a Cylinder, set its Radius to 4, its Height to 18, its Rotation Segments to 16, its Orientation to +Z, then enable the Fillet in the caps tab and set its Segments to 1 and its Radius to 0,5.

all of the supports.

Set the Position for the cylinder to X -200, Y 325 and apply. Use the Duplicate function, set the copies to 5, set the Mode to Linear, and the Move values to 0, -50, 0 and apply.

Bram van Gerwen

That was it for this month! You can check out Picture 7 for the final result textured. For any questions regarding this tutorial please visit the 3D Attack forums.

The cylinder will be duplicated downwards along the support. Group the Cylinder and its copies, name the group 'Pegs' and drop the pegs group into the Roof Support group that we created at the start of the tutorial. The pegs will now show op on

Skyboxes with CINEMA 4D By Thomas Pasieka

Ever wondered what the term “Skybox” means? Or maybe you are one of those who never heard of that term? What are they good for? Why would somebody use a box to recreate a Sky?

settings. So I order for the images to align nicely in your 3D Game Engine we would have to output as 256x256 or 512x512 or even 1024x1024 (the higher the resolution the more it will eat up your video memory). Have a look at the next image where I changed the output to 1024x1024 pixel. You will notice that your camera doesn’t show a 4:3 aspect ratio anymore but rather a square one. Have a look at the screenshot below to see where and how I changed the resolution for the camera.

Well, a Skybox is basically a series of images that are applied to a (imaginary) box with 6 sides commonly used in games. What else is it good for? Well you could also create your own HDR Images with that technique by rendering out the images as (Radiance) HDR right out of CINEMA 4D and compose them in Photoshop to a cross HDR that you can then use in other 3D Applications. Now how do we set up our scene in order to create our Skybox? Well we would need 6 cameras of course so we can create an image for each direction (Front, Left, Right, Back, Up, Down). Ok, so create your first camera and make sure it’s located on “0” in each dimension (Position X, Y, Z). Also make sure your rotation is set to “0” (H,P,B). You also want to make sure that your “Field of View is set to 90”. Have a look at the first Screenshot and important highlighted light blue areas.

Let’s have a look at the camera. As you can see it forms a nice “cubic” view. The Cameras boundaries are shown in green. So, what we got here is a camera with a resolution of 1024x1024 Pixel.

Ok now that we got our first camera in the scene we need to change it’s render settings. Click on the “Edit Render Settings” button in your top tool bar. We are going for a square output in this case. Why? Simple because the six images wouldn’t line up correctly if I had different height and width 25

Skyboxes with CINEMA 4D By Thomas Pasieka

Alright, on to the next point. We need 6 cameras like I mentioned in the beginning. So why not simply duplicate those cameras? That’s exactly what we are going to do. It’s also a good idea to name your camera before you duplicate it. The first camera is the “Front” camera.

Duplicate the “Front” Camera again and rotate it +90 degree this time (H= +90 Degree). This Camera is going to be the “Left” Camera so make sure to rename it properly. See next Screenshot (Image 05). Pretty easy isn’t it? We got 3 Cameras so far so 3 more are needed. Duplicate the first one again and rotate it -180 Degree (H = -180 Degree). This will be our “Back” Camera. Duplicate the “Front Camera again and this time rotate it -90 Degree in the P Axis (P = -90 Degree). This would now be our “Bottom” Camera. Do the same one more time and change it’s rotation to (P = +90) which makes our “Top” Camera. You should now have a cube of 6 Cameras (See Image 06 below).

After duplicating your front camera you will need to rotate it exactly -90 degree (H = -90 Degree) and rename your camera to “Right”. To duplicate your first camera simply click onto the camera in your object manager and hold the “Control” key (Mac) and drag it so it appears over the “Front” camera. Have a look at the next image where we have two cameras in our viewport and two cameras (Front, Right) in our Object Manager.

We are done with setting the Cameras and Render settings up. Now would be the perfect time to create your Sky. Do whatever you feel is necessary to create a Sky you are proud of. I am not going into detail on how to create or use the “Sky” module (Image 07). The nice thing about Release 10 is that we can simply switch between Cameras by clicking on the little icons in the Object Manager next to the object (First icon is for adding it to a Layer, second icon is to deactivate/activate it in the viewport/rendering and the third is to directly switch into the selected camera). This is very handy and makes for a faster workflow.

Skyboxes with CINEMA 4D By Thomas Pasieka

you how to do that since I am a very mean person. Nah, I am just playing with you guys. Well, here is the solution. We will make use of the “Stage” object. We will use this “Stage” Object in order so that CINEMA 4D switches Cameras on every frame we render. In easy words, we will create a short animation of 6 images and the output will be a TIFF Image (six Images to be precise). Have a look at the following two Screenshots. 07

Now in order to create your images you will need to render each image. Let’s have a look at the final rendering of the “Front” Camera (Image 08).

10 That looks decent. So in order to create all my 6 Images I would have to make sure that I am “in” the right Camera and render it by hitting the render button. Wouldn’t it be much nicer if CINEMA 4D could render all 6 Images without me switching Cameras and hitting the render button all the time? There sure is a way! But I won’t tell

Image 09 shows where to find the “Stage” Object while Image 10 shows how I changed the output to 6 Images (animation). Image 11 shows that I specified a “Save” Path for those images.

Skyboxes with CINEMA 4D By Thomas Pasieka

up menu. Here we will choose “Add Keyframe”. We just created a Keyframe for our “Front” Camera. This is indicated by a red little dot now.

Ok, time to do a little magic. Click on the “Stage” Object in the Object Manager. You will notice that is has 5 Slots (Camera, Sky, Foreground, Background, Environment). We will only make use of the “Camera” slot. Check your timeline and make sure you are on “Frame 0”. Then Drag the “Front” Camera into the “Camera” slot of the “Stage” Object. If you noticed, I changed the documents “Project Settings” to 6 Frames in total so my timeline of course only shows Frame 0 to 5. See next Screenshot.

Go to Frame “1” in your timeline and drag the “Right” Camera onto the slot. Once again you will need to create a “Keyframe” by right clicking on the “Camera” option. Do this with every Camera, in your scene. Don’t forget to move one frame at a time. When you are done, go through the animation frame by frame to make sure you got it set up correctly.

Now comes the time to render your animation. We previously set up our render settings so you should be ready to go. Make sure to have a location specified (Create an empty folder). Now hit the “Render Button” and CINEMA 4D will automatically render all 6 Frames. The Stage object was helpful in this case since we don’t have to create 6 different files and batch render it. This keeps it nicely organized in one scene. Have a look on the next page so you can see the final outcome of all 6 Sky Images which I will further process. I will take these into Unity (a game engine (OS X only at the moment)).

Make sure that you are on “Frame 0” in the timeline (Indicated by the green square). Then go to the “Camera” slot of your “Stage” Object and right click on “Camera”. You will notice a little pop28

Skyboxes with CINEMA 4D By Thomas Pasieka

You don’t need to own Unity. Most other Game Engines do handle a Skybox pretty much the same way. So my setup actually works for almost any Game Engine out there. Like mentioned before, you can also create a Cross-HDR by switching the output format to HDR within the Render settings. I hope you enjoyed my tutorial and I hope you will be trying it on your own. I create a little movie so you can see how the actual Skybox looks like in a Game Engine. Thomas Pasieka

Special Specular By Rui Batista

How do you specify if a material is shiny or matte when you are creating a material in CINEMA 4D? You use the specular channel, right? For shiny materials you create a strong, thin specular, and for matte materials you use a weaker, broader specular, correct?

For example, some materials have several layers of translucent coatings and present more than one specular when light shines on them. Others have micro-scratches on their surface, or are simply polished in a special way and, because of that, present what is called “Anisotropic Reflections”. In particular, metallic objects have very particular speculars that are especially difficult to reproduce with the regular specular controls, even if you set the mode of the Specular Channel to Metal.

You have quite a versatile control in the shape of the specular you assign to the materials using just the controls that CINEMA 4D provides (Images 01 to 04).

So, what do you do when you need that special touch of specularity?Luckily, we do have in CINEMA 4D a shader that does specular "special effects".

However, there are speculars of some materials that are a whole lot more complex and are harder, if not impossible, to create with the specular controls provided within CINEMA 4D.

Special Specular By Rui Batista

It is called Lumas and is "hidden" in the Effects submenu of the shaders list. (Image 05).

That comes from the time when Lumas (and several other shaders that are now part of CINEMA 4D) were from a third-party developer. The collection of shaders was called Smells Like Almonds, as some of you may remember. Actually, if you perform a search in your computer for "Lumas" (without the quotes, of course), you will find a file named "xslalumas.h" somewhere inside your CINEMA 4D folder. Guess what the "sla" stands for ;-)

Now, here comes the weird part of this tutorial: To create these special speculars you need to TURN OFF the specular channel. Well, you don't really need to as you will see in the end of this tutorial, but for the sake of simplicity turn off the Specular channel.

Ok, Smells Like Almonds was notorious for three reasons:

And where should we place the Lumas shader? Oddly enough in the Luminosity channel. Why? Because a specular is reflection of light in a very specific angle, right? So, if we want a specific location of surfaces to show light – and that light needs to be prevalent over other characteristics of the surface – we use the Luminosity channel and solve both requirements in one go. Go a head, create a Lumas shader in the Luminosity channel. Mmmmmm, your material took a reddish tone. That is because the default values for Lumas are for a red material (Image 06).

- The weirdest names conceivable for some of its shaders and noises (Banji, Danel, Nukei, Buya, Ober, Poxo, just to name a few)

- The excellence of the numerous effects it allowed.

- The silliest defaults that needed to be changed 99.9% of the time. When MAXON integrated the SLA shaders into CINEMA 4D they changed the defaults of the more commonly used shaders, but kept the original defaults for the rest. Unfortunately, Lumas is one of the shaders that didn't receive a defaults

Special Specular By Rui Batista

"face lift". Worry not; you can always save a preset with some better defaults (if you have version 10.x, that is). 07

So, click the Lumas button in the Luminosity channel (I assume you have already created a Lumas shader in the Luminosity channel). You are presented with five tabs – besides the Basic tab that all shaders have – namely, Shader, Specular 1, Specular 2, Specular 3 and Anisotropy. Even if you don't know anything about the Lumas shader, just by the name of its tabs, you can already understand that you can, at least, create three independent speculars. Ok, the first thing we must do is to change the shader color to black. You can set it to another color for particular special effects since you are placing the Lumas shader in the Luminosity but, for now, let’s just keep it plain black.

Now only the speculars are tinted red, so click the Specular 1 tab. The color is set to white, so let us leave it this way. Let’s move on to the Specular 2 tab. This one is pink, so change it to white. Finally, Click the Specular 3 and change its color from red to white. Now would be a good time to set this shader arrangement as a default. Click the Luminosity channel name or click the back arrow to get back to the main Luminosity options. Now, from the button on the left of the Lumas slot (the one with the triangle, from where you choose the options for the Texture), choose the Save Preset option. (Image 07).

From now on, whenever you need a Lumas shader set to only produce multiple speculars in the Luminosity channel, without interfering with the color, just choose the Lumas you just saved from the Load Preset option (Image 08). As you may notice, my preset has a custom name. You can do that by using the Content Browser. Navigate to Presets/User/Shaders and change the name of the newly created preset (Image 09).

Special Specular By Rui Batista

Now you can start editing each specular to create whatever combination you need. This tutorial doesn't intend to teach how to use the Lumas shader itself. You can use the manual for that or, like most people do, experiment until you get a pleasant result.

Combining Color in the color channel and the shader color of the Lumas shader in the Luminosity channel can achieve interesting results, but can be harder to control. Feel free to experiment. If you need specific effects in the Luminosity channel, besides the Lumas speculars, you can either place the Lumas shader in the Specular channel (using the previous trick) or combine the

As an added bonus you can add anisotropy to your speculars. Once again, refer to the manual or experiment with the values of the Anisotropy tab until you get a result that you like. Now, a few final tips: You can turn on the Specular channel also, adding a fourth specular to the three speculars that the Luma shader offers. Of course, this fourth specular, using the Specular channel doesn't have as many options as the ones in Lumas. Well, there is a way to work around it... read on.

If you only need an anisotropic specular or if you need one, two or three additional speculars, or simply if you want a less complicated way to vary the intensity of the Lumas speculars, you can place the Lumas in the Specular channel instead of, or in addition to, the Luminosity channel. To do that, go to the Specular channel and set the Width and Falloff to 100%. Now set the Height to a value that you think is good for your material. You can start at 100% to easily see the effect and then adjust the Height value afterwards.

Now add the Lumas shader to the Specular Color channel and adjust it, like you did when you placed it in the Luminosity channel. The problem with this method is that the Lumas speculars don't cover the whole side of the object that faces the light. This is due to the Illumination model used that defaults to Phong. Go to the Illumination channel and set the mode to Blinn. Now the Lumas speculars will cover the entire illuminated face.

Lumas with other effects using a Layer shader. Just place the Lumas on top, mixed with Add.

You can easily increase and decrease the specular by adjusting the Height value of the Specular channel.

Set the Algorithm of the Lumas shader to Oren Nayer for surfaces that should not be very polished. Also, it may make things easier to control if

Special Specular By Rui Batista

you have a color different than black in the Lumas shader color. Ok, that’s it for now. As you can see from the following examples (Images 10 to 15), very interesting materials can be achieved by using inventive ways of combining shaders. Keep on Attacking :) Rui Batista

Modeling a Violin - Part 2 - The Parts By Mark Glass

Welcome to part 2 of Modeling a Violin. After following last months tutorial you should have the body of the violin completed. This month we will be making the Scroll, saddle, neck, fingerboard and pegs.

To start the Scroll shape create a Disc Object and change its settings to : Disc Segments = 1, Rotation Segments = 7 and Orientation = +x Make it editable and scale/move it so it lines up with the inner part of the scroll. See Image 1.

To start, load the ViolinPart2.c4d file, this file has the top and side reference images of the full Violin setup in the background of the top and right viewports.

In the Right Viewport select the bottom left edge of the Disc Object and then extrude it. Move/ Rotate the new edge to follow the curve of the Scroll. Keep extruding and Move/Rotating new edges until you get to the neck. As you follow the curve keep the new edges in line with the lines of the disc so each one points towards the center. This will make it easier to connect them up later. If you look at Image 2 it will explain it clearer.

There are two cropped images within the background images that show a more flattened view of the scroll section of the violin. These are included to help you model the shape easier.

Modeling a Violin - Part 2 - The Parts By Mark Glass

Using the Top viewport select each line and move it on the X-axis to follow the curve of the scroll. (Image 3). Now that the object is following the curve of the scroll in both viewports, starting from the center, move the inner points to line up with each other. Again, it's easier to see in a picture so have a look at (Image 4).

Click on the Point Tool and work from the center disc using the Bridge Tool to fill in the gaps between the polygons, see (Image 5) for a before and after shot. Continue to extrude the end line to finish the end of the scroll and join into the neck. Have a look at Image 6 for one way of creating the end of the scroll. Be sure you have at least two polygons along the edge of the neck, this will allow us to create the curve of the neck once it is hypernurbed. There is also a line at the top which we will extrude to create the top nut on the neck. (Image 6). If you are using the flattened view of the scroll,(Which I was when taking the screen images), move the object to line up with the scroll on the complete violin image so you will be able to continue along the neck and the saddle.

Modeling a Violin - Part 2 - The Parts By Mark Glass

weld the two points along the center edge. Image 8 shows the cutting/weld process step by step. Then extrude the new Polygons inwards and delete the Polygons along the center line so there will be a square shape when a symmetry object is applied.

Once the neck and saddle are completed in the Right viewport, do an outline selection (Shortcut: U & Q). Then extrude with an Offset value of 0.01. Without deselecting the lines CTRL-click on the Point Tool. This will select the points of the selected lines. Then use the Set Point Value function with X = SET = 0. The extruded line will now be along the center line allowing us to use the symmetry object. You should now have something like Image 7.

To create the Fingerboard select the top faces of the neck and saddle and extrude them using the right viewport to line up to the top of the neck. (Remember to delete the center polygons so you can use the symmetry object). Pull the center points up slightly to create the curve of the fingerboard.

To finish the Scroll part we need to add a slot for the tuning pegs and strings to fit into. Select the faces in the top viewport that cover the gap in the image and do an inner extrude. Then cut a line from the inner corner points to the center line and

Modeling a Violin - Part 2 - The Parts By Mark Glass

Select the end of the fingerboard and extrude it to create the length across the top of the violin body, extrude it again very slightly so it will remain square when the hypernurbs is applied. Also extrude a polygon near the end of the fingerboard to create the top nut. To check your progress have a look at Image 9. The last part for this month is the pegs. Using the Top view create a box with a Size of X = 30,Y = 10,Z = 35. Make it editable and line it up over the peg reference image in the top viewport.

Using the reference, loop cut the box in the middle down the z-axis, and twice along the x-axis where the stem fits into it. Then Move the points to form the basic shape of the peg. Select the polygon where the stem comes out and do an inner extrude. Then extrude that polygon out to form the stem.

In part three we will be modeling the Tailpiece, Bridge, strings and Neck-rest. If you have any questions/suggestions please post them on the forum.

You can either refine the polygon shape further or put it into a hypernurbs and adjust the points and weighting. See Image 10 for a picture guide.

Mark (NoxAnima)

Make three copies of the peg and move/rotate them to line up within the scroll. The Scroll/neck/fingerboard and pegs are now finished. Image 11 shows the body and neck together, (if you import the body from last month it should line up with the neck from this month).

The Prize Fight II - Round 2 By Tavy Pasieka

have been awarded CINEMA 4D R10 for their efforts. Upon the completion of Round 1 we have moved on to Round 2, the modeling round. In Round 2 all entrants from Round 1 are eligible to model and texture their Character/Fantasy Creature from Round 1 using CINEMA 4D. Of all three rounds, (sketching, modeling, animation), Round 2 is my personal favorite. During this stage in “The Prize Fight” our talented entrants get to show off their skills in CINMEA 4D and bring their Character/Fantasy Creature into a 3D existence. It’s an amazing and very educational process for all involved that will generate two lucky artists who will win the CINEMA 4D R10 XL Bundle. Round 2 will end on July 9, 2007 and Round 3, the animation round, will begin on July 23, 2007, this is where the rubber will meet the road. Our Round 2 entrants will take their 3D models and bring them to animation life in CINEMA 4D. This being the final of our 3 Rounds, our Grand Prize Winner will be awarded the CINEMA 4D Studio Bundle. For more information concerning “The Prize Fight II”, and to stay abreast of our talented entrants work, please feel free to stop in at the 3D Attack forum contest section at: "http://www.3dattack.net/forum/forumdisplay.php?f =90"

“The Prize Fight II” Round 1, the sketching round, is now complete. Round 1 produced over 40 creative sketches and MAXON USA has picked their winners. Jochen Stuhrmann, Marcin Wójcik and Nigel Wood all did an outstanding job and

For your viewing pleasure feel free to browse the next few pages to follow our entrants progress.

The Prize Fight II - Round 2 By Tavy Pasieka

Best of “Cinema 4D” Gallery A monthly selection of inspiring images

Image Name: Ancient Artist Name: Tyrone Marshall Country: USA Software: Vue 6 Xstream, CINEMA 4D, and Photoshop Date Created: May 7, 2007 Website: digitecture.org

Best of “Cinema 4D” Gallery A monthly selection of inspiring images

Image Name: Necklace Artist Name: DaveEf Country: Italy, Venice Date Created: May 5, 2007 Software: Scene: CINEMA 4D V.10 Render Engine: Maxwell Render V.1.1 Sample Levels: 11,64 Enviroment: HDRI + Emitter © 2007 DaveEf ALL THE RIGHTS RESERVED Website: : http://davdav137.100webspace.net and http://xoomer.virgilio.it/daveefarte

Best of “Cinema 4D” Gallery A monthly selection of inspiring images

Image Name: The Orrery Room Artist Name: Dennis Allain Country: USA Software Used: CINEMA 4D R9 and Photoshop CS2 Website: www.dennisallain.com

Best of “Cinema 4D” Gallery A monthly selection of inspiring images

Image Name: Return of the light Artist Name: Jan Brukner Country: Czech Republic Date Created: 06/2007 Software Used: Cinema4D,BodyPaint3D,ZBrush,PhotoShop Website: www.johnbruk.com

Frequently Asked CINEMA 4D Questions June 2007

Q: Is depth of field possible in CINEMA 4D without Advanced Renderer?

A: I think you just answered your own question there...Single cylinder and bend deformer. Another option, if you have the Mograph Module, is to put splines into a cloner and put the cloner under a loft nurbs. Make sure you deselect fix clones.

A: No I'm sorry it is not. Your best bet is to check out the zBlur plug-in at: http://www.biomekk.com/index.php?page=1&cat= 107&itm=3

Q: I think the only thing I like about Maya so far is that they have easy to get to buttons up on top that you can toggle and that way when you move an object it can snap to the grid or snap to points of another object. How can you do this in C4D?

Q: I'm trying to light a plane object that has a brushed steel texture. I want an even rectangular soft edged highlight across it, but if I try to use an area light there's always a hot spot in the center. The kind of effect I want is like when you might create a brushed metal effect in Photoshop then add a diagonal highlight across it with a soft edged selection and a curves/levels adjustment. How can I create a strip-light with even illumination all along its length?

A: If you select the Move Scale or Rotate tool you will see the snapping tag in the Attributes manager. If you hold down the P on the key board you'll get the snap settings. Q: I was wondering where I can get good books or DVD's to learn XPresso?

A: Make a cylinder in the shape of the highlight you desire, then make it editable. Next, under the Details tab of your area light, set Area Shape to Object and drag the cylinder into the the Object field.

A: You can try www.base80.com or www.cineversity.com. Cineversity has a treasure-trove of useful information for CINEMA 4D users of all levels. There are many free video tutorials. To access all tutorials you must become a paid subscriber.

Q: I'm kinda new at making animations and I'm just wondering how to export the animation as a .gif or .AVI or anything like that.

The subscription fee is well worth the price for education you will receive. They currently have over 600 video tutorials and continue to grow on a regular basis.

A: Just take a look at the RENDER SETTINGS menu. There you should take a look at the OUTPUT and SAVE menus. Q: What has happened to the Tube Light in C4D 10? Is there a replacement? A: Yes, check the new area light options. Also, you can now use any ploygon shape as a light Q: OK, so I have 2 cylinders. I took out the caps. I rotated them so they are lying on the ground. I want to join the edge of cylinder 1 to cylinder 2 that way when I bend one of the cylinders the middle will bend like an elbow. How can I do this?

Contact Information July 2007

The 3D ATTACK Team Need to contact us? Got questions?

Thomas Pasieka, CEO 3dattack@3dattack.net Tavy Ann, VEO tavy@3dattack.net Chris Montesano, Site Admin/Developer chris@3dattack.net Rui Batista, Moderator/Writer Rui_mac@ruimac.com Mark Gmehling, Moderator/Writer macling@braincorps.de Darrin Frankovitz dfrankov@gmail.com Bram van Gerwen, Moderator/Writer killbots@mac.com Jamie Hamel – Smith, Moderator/Writer jamie3d@gmail.com Michael Mlynek, Moderator/Writer MichaelMlynek@gmx.de Website: http://www.3dattack.net Plugin Page: http://3dattack.net/shop/index.php?page=10

3D Attack the CINEMA 4D Magazine and all material contained therein are copyright protected. You may not disassemble or distribute any part of this publication without prior written consent from 3D Attack directly. any attempts to do so will be prosecuted to the fullest extent of the law as it applies in Michigan, USA. This applies for both 3D Attack material as well as any named artists material contained in 3D Attack publications. Although we read through all the tutorials and proofread them for errors, we cannot guarantee that they are 100% error free and therefore cannot issue refunds based on those errors. Copyright by 3D ATTACK 2004-2007 “3D ATTACK” is a registered trademark. 3D Attack 158 S. Saginaw St. Chesaning, Michigan - USA 48616 Phone: 989-845-3334 E-mail: 3dattack@3dattack.net