That was my second atempt at copying topshot scenes from Enter the Void, after failing the first one in my bachelor thesis (which at last became “Until the Light takes us” ). Production started early 2013 and took almost 7 months from start to finish. While most magazines used that to sell it, it wasn’t that kind of a big deal and I spend most of that time with modelling assets and trying out stuff. There was no agenda for this piece, trial and error was a huge part whilst dealing with short notes, daily renderings and small to-do lists (“make pipe bigger”, “cable drum has inverted normals, fix asap”, “place dildo somewhere less visible”). I spent much time to sort everything into layers, which might appear normal when you work with 3DS Max, but I saw dozens of Cinema 4D artists not using the layer system because they don’t see the benefit since they also have the object manager (which is good for sorting objects but not materials).

One of the biggest problems in this scene was the floor - I had something very boring in mind and changed it to something more complex later in the process - the tiles are all real geometry and each of it has its own UV map. I tried do apply unique textures to them by using the mograph multishader with a standard vray material, but it just didn’t worked the way I wanted, so I decided to map them all by hand, which wasn’t that hard since there where just a few tiles on the floor - but the fact that it just won’t work with the multishader the way I wanted, for no good reason, bothered me so much, that I spend almost two weeks with trying to find a solution for multishading 20 tiles, which was a total waste of time and pretty inefficient.
— Cornelius Dämmrich