CINEMA 4D • TUTORIAL + SCENE FILE
Custom Depth Maps.
Depth control that follows your shot.
Create custom depth mattes in Cinema 4D with simple shaders, then move the matte through your scene to control where a compositing adjustment appears. This lesson offers a more flexible, shot-specific mask than relying only on the default depth output.
Watch the original workflow and explore the free scene file. Work on a separate copy: the tutorial removes texture tags from the objects while preparing the matte render.
Free resource from the Alpha Pixel library. Confirm your email to unlock downloads.
Custom Depth Maps — original Alpha Pixel artwork.
FREE RESOURCE
AT A GLANCE
Custom depth mattes in Cinema 4D
at a glance.
Use shaders to shape and position a grayscale matte in your scene.
Control a compositing adjustment with a shot-specific mask.
Study the original tutorial and free example scene on a separate copy.
Built for your workflow
A closer look.
Depth control that follows your shot.
WATCH THE TUTORIAL
Shape the depth.
Control the result.
The original technique uses simple Cinema 4D shaders to place a depth-style matte where you need it. Rather than treating the camera’s normal depth range as the only option, you can move the shader-based result through the scene and inspect the mask from the shot camera.
Think of the result as a grayscale control image for compositing: use the bright and dark areas to decide where an adjustment applies, and the transition between them to blend it. Start with one intended effect so you can judge whether the matte is doing a useful job.
The tutorial’s original companion plugin is Hide and Seek. Follow the recording for its role in the workflow; the core idea being taught is the shader-controlled matte.
Depth mattes
Compositing
Watch the original Custom Depth Maps tutorial.
A MORE FLEXIBLE COMPOSITE
Cleaner isolation.
More room in post.
A custom matte can help you guide a grade or atmosphere adjustment toward a chosen area. For example, test a subtle color adjustment across the mask before adding a stronger effect. Look for a clear transition and unwanted areas being included.
Keep this separate from a measured depth pass. Maxon’s Cinema 4D Multi-Pass reference describes the standard Depth channel in relation to the camera’s focal distance. An art-directed shader mask has a different purpose and should not automatically be treated as calibrated Z-depth by another application.
Render passes
Matte workflows
Custom Depth Maps — original Alpha Pixel artwork
BEFORE YOU RENDER
Keep the beauty.
Build the matte.
- Save another scene version. Preserve the original materials and beauty-render setup before following the matte workflow.
- Choose what the matte should control. Identify the area that needs the adjustment and the transition you want to see in the final shot.
- Prepare the shader setup from the video. The original method removes texture tags from objects. Make those changes only in the copy you prepared for this pass.
- Position and preview the matte. View it through the shot camera. Compare the bright region, dark region and transition with the part of the scene you intend to affect.
- Test the composite. Render a small test with matching camera and frame settings, then use the image as a mask in your compositing application. Invert the mask there if the effect lands on the opposite area.
For animation, check more than one frame before rendering the full sequence. A mask that looks right on a still may move differently from the subject or camera. Keep the beauty and matte outputs clearly named so they remain easy to pair.
GOOD TO KNOW
Custom depth matte
questions.
What is the freebie?
A Cinema 4D tutorial and example scene for building a shader-controlled depth matte. Use it to study how the mask is shaped and moved through a scene.
Why make a custom depth matte?
Use one when the adjustment you want needs a mask placed for the shot, rather than only the camera-based depth output. Preview it with the actual effect to decide whether it helps.
Does it replace a renderer’s Z-depth pass?
Not automatically. A grayscale mask designed by eye and a renderer’s depth data are different things. Effects that expect actual depth values need the appropriate output from your renderer.
Why save a separate version first?
The original method removes texture tags while preparing the matte. Keeping a separate file protects the original material assignments and makes it easier to return to the beauty render.
Is this a Redshift tutorial?
The original recording demonstrates an older Cinema 4D shader workflow. It is not a verified guide to modern Redshift AOV setup. Check your renderer’s own documentation if you need its depth output.
What if I only need to isolate an object?
Start with an object mask or the related masking in Cinema 4D tutorial. Choose a shader-based matte when the spatial transition itself is useful.
Where can I download the example?
Confirm your newsletter signup for access, or visit Freebie Downloads with the current password and choose Custom Depth Maps.
A little less setup.
A lot more creating.
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