PixelPlow Render Farm for Cinema 4D
PixelPlow Render Farm for Cinema 4D


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Showing most liked content since 01/21/2017 in all areas

  1. 5 likes
    I came across this today on Toolfarm's website. I thought I would share it with you. Mark
  2. 5 likes
    Webinars from Maxon now available!! If you have doubts and you are not sure what renderer to choose, here is something that could help. Corona, Maxwell, Octane, VRay
  3. 4 likes
    This little gnome couldn't stand hearing that smurf song one more time and just lost it... Sculpting in Zbrush. All base meshes, compositing and rendering in Cinema4D.
  4. 4 likes
    Other render engines to consider would be Cycles, Thea, and Redshift. Redshift is not out for C4D yet. When testing with other programs it looks like it can be really fast in many scenes. There is definitely a reason huge companies like Blizzard use it. Redshift's speed can definitely be the fastest with only a slight reduction in quality. It's great how they got past the GPU memory limit, and their development seems fast. Quality is good enough for most scenes. Cycles looks great for higher quality ray tracing, works with volumetrics, has an amazing plugin for C4D, great varity of layers, and works perfect for xparticles, but does not really have anyone to contact to recommend new features to for the core engine. Thea is the ultimate in quality. Thea is slower than Redshift, but way faster than Maxwell. Development could be faster for Thea. I'd say after Redshift comes out probably everything can be rendered with either Redshift or Cycles. With those two other render engines won't be needed as great quality and great render times could be achieved all the time. C4D native rendering can do great things, but has no real time and can take forever to render good GI. Corona can be really good and is fast enough to not go crazy, but has a little bit of a learning curve to not get flickering with animation and maybe slightly slower than Cycles. Maxwell has good support and great quality, but is slow. Maxwell quality is not as good as Thea, but is very good. Octane is fast has huge support for a ton of features, but slows a lot when upping quality and doing real ray tracing. VRay can be fast if you get past the learning curve. IR in VRay sometimes makes you go crazy trying to find something that works without flickering or visible splotches and still gives good render times. I meant this to be a short thing saying "also try out Cycles, Thea, and Redshift". Now looking at it I feel like I'm still scratching the surface of explaining all the differences between all the different engines. Rendering is really a crazy thing.
  5. 4 likes
    Hi everybody!! I've just uploaded a new piece about music characters on Vimeo. I'm really proud of it, and I would like to know what do you think :) We tried to represent some of ours favourite musicians. I don´t spoil, just paste the link (only 40 seconds): Enjoy! I hope you like it! Thank you very much for your time!! Nacho.
  6. 3 likes
    FLATTEN TOOL IN SCULPTING I am starting a long running topic of my favorite techniques which give me warm fuzzies. I have a fairly long list of techniques which I consider magical. For the first one I will describe one I discovered in the last week and which absolutely saved me on a project. I had modeled a kidney but next I needed to bisect the kidney so I could sculpt the flat inside portion. I was stressing over various techniques none of which worked appropriately when I discovered that I could take the model back into Sculpting layout and use the Flatten Tool with Fixed Plane set to Workplane. Then I could position my mesh with the Workplane half way through and use the Flatten Tool to make a beautifully flat bisected mesh surface which I could then use for sculpting of fine inner details. Bingo, problem solved with a feature I had not even known existed. C4D is amazing! I am hoping that some of the smarties in C4D Cafe might add their own magical techniques. Some of the members here, such as Bezo, maliohammad, Jed, Southpaw, Cerbera, Mabad, and Brasco, have been real wellsprings of learning for me and it would be great if they too would occasionally add their exciting tricks.
  7. 3 likes
    Maybe I'm late to the party, and you've all been hiding this from me; if so I'll delete the thread... But if not... TEST POTENTIAL NEW C4D FEATURES NOW !!!!! Really ?????!!!!! Yes !!!! Check out the Coons Mesh and the Extrudifier Python script !! https://labs.maxon.net CBR
  8. 3 likes
    Taking a break from modelling the Darth Vader helmet, to do some character work, a fat office worker/boss, body proportions, especially his suit should be fun to make, if not a challenge at least :D
  9. 3 likes
    Spritz 3.0 is an upgrade to the Spritz plugin. Spritz allows you to add condensation to your objects. New in version 3.0 is User Presets, so you can store your custom changes. http://c4dphototools.com
  10. 3 likes
    There are hundreds and thousands of tutorials out there, and no single one will make you good at this. It takes years of diligent practice to be first competent, then good at 3D. The reason this is (more) difficult (than 2D art for example) is that you need to be basically competent in many areas of the program before you can start producing decent renders. But if you are prepared to put the years of work in, then it can be a very rewarding career. I would recommend you start with Sub-D modelling, which is one of the base skills in C4D (and 3D in general) - and here is a video series that will get you started on doing that properly. CBR
  11. 3 likes
    Thanks Cerbera. here is the latest, I reduced the HDRI brightness as maliohammad said, and it really did make a difference in the way the clock looks. I changed the texture to a C4D default with the scratches, removed the flair out on table because I think it was catching too much blue from the tv reflection in HDRI and making it look weird. I"l post what I have then use Cerbera's texture. thanks again for the suggestions.
  12. 3 likes
    I have good and bad news to report. First of all, I managed to build a Mac version of the plugin (WIP4) and sent it out to Rick. As he was kind enough to provide me with a Mac to port my plugin, it wasn't but fair to allow him to be the first Mac user. Unfortunately, I didn't get any response and hope all is well with him. In the meantime I have been working on the next WIP, and have had to spend quite a lot of frustrating time resolving Cinema's inconsistent undo/redo. MAXON's developers will probably tell I am abusing their design, as it wasn't meant to be used that way. Well ... hell yeah! Give us a proper unwrapping tool and we won't have to abuse the system. Anyway, the many frustrating hours an days have at least managed to help me find a way to get rid of the annoying Texture View initialisation requirement. Additionally, I have reworked the icons. Undo/redo should be working (hopefully all the way through). Symmetry has been fixed. Just a word to some of you downloading this and previous WIPs ... and you know who you are! Even if a piece of software is free of charge that does not give you the right to distribute or upload it to any website of your liking. Violation of copyright is a serious thing. I know that some of you might not agree with my ideas, and I respect that opinion. But I urge you to respect my work and not distribute nor upload any of my files without permission! Seamilar WIP5 OSX.zip (Mac R17+) Seamilar II wip5.zip (Windows R17+) I hope to finalise this plugin shortly, until then I am proposing this plugin at a pre-release price of 25 euros. Just a reminder that any form of violation of copyright (be it related to plugin, script or host application) will revoke your right to any support, including future updates or upgrades.
  13. 3 likes
    After delaying it for so long, I finally decided to try voxel based hard surface modeling in 3D Coat. I picked first thing from my desk I could see being nice potential for a good model. Only thing left for me to solve is how to model that complex mesh in 3D Coat...which I will tackle tomorrow! Then, its time to do retopology, UV unwrap and then texturing. I am curios is anyone here tried the same ?!
  14. 3 likes
    I have been hoping to get to this point for a while. The point where i can create more easily a growing set of cartoon characters, simply rigged, to have on hand for clients or personal projects since making and rigging them is the biggest log jam in my workflow. I bought a generic doctor character on turbo squid since I am just not getting the hang of modelling characters from scratch and then modified him to all these guys, then rigged mostly with cactus dan's tools. I made 7 characters in all so far in 2 weeks. Not the best in the world but if we all waited to be the best in the world nothing would ever get done! I think I can get a few more done in the next week or so, but then I need to get back to work animating.. something!
  15. 3 likes
    Hi everyone I have created a Cinema4D project of an orca, also known as a killer whale. I have made this project available for other artists to use at their discretion, it can be downloaded by visiting my Behance.net profile which I have provided a link to below. behance.net/gallery/47101197/Cinema-4D-Asset-Download-Rigged-Orca-Model This project file includes the model for the orca, the swim rig to animate it, and textures which reflect an anatomically correct orcinus orca. My orca's have been a personal project I began early on in my Cinema4D development and have been a very effective learning tool as I advance my skills in 3D creation. All I ask is that my orca's be used respectfully in the creation of your own scenes that you may be inspired to use them in.
  16. 2 likes
    I do know this of course, and accept that your poles wouldn't cause any render problems :) But it is possible to get that shape without them... However perhaps I was wrong to say anything - there is nothing wrong with people modelling stuff different ways :)
  17. 2 likes
    There are no shadows or AO in that, which is making it look very 'CG'. Textures are not detailed enough / don't have bump maps, and objects are not bevelled, so cannot reflect light accurately. Fix those things, and much will be improved... Then you need to look at your glass lens. You need to find the V-ray equivalent of the Thin Film Shader (sorry, don't know what that is, I don't use V-ray) - you need a multi-dielectric shader of some sort make it look like a lens coating. I think you are having some transparency and possible IoR problems with the glass too. If you are making this accurately that lens will have convex thickness, and there will be several other (differently profiled) lenses behind it, which, even if you can't see them directly, will affect the look from the outside. CBR
  18. 2 likes
    Here's a rigged Daz Gen2 Female that I've been working on. I took some inspiration from Gene Magtoto's usage of the driver tag in his Mr Face project and for a fairly dense mesh, the viewport performance is very good. The rig has plenty of corrective morphs for organic deformation, a comprehensive list of facial expressions and phonemes and runs a cloth sim colliding off a proxy mesh. Anyway, I'd love to hear people's feedback, especially on the phonemes which is still fairly new to me. Daz_Gen2F_Cinema4D.zip
  19. 2 likes
    I thought today's time-waster might amuse somebody. It's loosely based on a Homer Simson joke. ( pi is lowercase p in the symbol font )
  20. 2 likes
    All the controllers of the Xref object can be animated as well as any morphs or other deformers. You do have an option to animate objects on the original scene file for the character and import the animation data as part of the Xref as well if you want but this will not make much sense for character animation in my opinion. Especially if you are doing multiple scenes. Any amendments to the rig in the original character scene file will update into the referenced scene once reloaded. Now, I haven't actually tried adding controllers but I would hope that all key frames added before the rig is updated will still be intact and you can add key frames to the new controllers after the re-load but I cannot say for certain. I did find that any cached dynamic information on cloth or hair empties after closing and re-opening the scene so its best to cache and save the cached information so when you reload the scene you can reload the cache files back in to the relevant dynamic tags. I hope this makes sense.
  21. 2 likes
    Hah that is disgusting and awesome.
  22. 2 likes
    SET POINT VALUE - AXIAL/ NORMAL CRUMPLE To give points instant randomness per individual axis, select points, call Set Point Value, and set mode to Crumple (axial or normal). HELIX SPLINE TRICK Want a perfectly straight spline with precisely controllable point count ? Get a helix, set its start and end radii to 0. Set point count, make editable. Perfect straight line. DIAMOND PLANE TRICK Need a big area of 45 degree diamond pattern from a set of normally oriented polys ? Select all points, get Bevel tool, tick Limit, then bevel all the way. Optimise to finish.
  23. 2 likes
    @poodles Here is my entry. Finally, got a time to spare just this weekend. I'm not sure what you mean by " You must texture your scene - native C4D textures or textures made by you. " Anyway, I made the materials/texture myself but the "image maps" are from the internet and some of them are extracted from the GSG textures from way way back. If you plan to disqualify the entry, I'll understand as I didn't clarify the guidelines before entering. ============ Finished my love. Some personal notes. I just watched Beauty and the Beast earlier this week, for the first time. (My childhood is not really into film/media back then.) Then, I remembered this challenge and it was clear what concept should I make. First made in Vray, then after I was about to finish I remembered the object be made in native C4D renderer. So I had to rework all the materials. This turned out to be a blessing since I was having trouble to make a volumetric lighting in Vray. With the phsyical renderer, volumetric lighting was no sweat. Also, I was having trouble exporting a depth pass with this project. When I create a new document, and render a depth pass. It looks fine. But when I render it with this project, it just turns black. I don't know why and I have no time to troubleshoot. I ended up exporting two image, one with no DOF and the other with full blown DOF that everything seems to be blurred. I just masked the full-blown DOF in Photoshop. Also, is there an issue with 32 bit image to be edited in Photoshop? It seems like I can open it in PS but I cannot create/add layers. I ended up using 16 bit image which functioned perfectly well. Weird. Anyway, I planned to make an animation out of this if time permits before the release of the Beauty and the Beast live action. Anyway, good luck to everyone! P.S. I have no WIPs as everything happened so fast. I just need to sleep right now. I'll try posting clay render later, if that qualifies as WIP. P.P.S. 10 min render. Physical Render. Adaptive. Low. For future reference.
  24. 2 likes
    I have made this tut for lego characters , but it should work for anything similar
  25. 2 likes
    USE THE HUD How many points are selected in this image ? Looks like 1 doesn't it, initially ? But because I've got my HUD setup properly, I can see that it's actually 2, and that they need welding. Might you miss that without it ? Yes you might :) Look at all that helpful info, available from the view settings (shift+V), and helpfully component mode-dependent.
  26. 2 likes
    The tube is not being seen as hollow because of incorrect collision settings. Change collision type on it from 'automatic' to 'Static mesh' to fix. CBR
  27. 2 likes
    I think .obj don't support joints . if you want to export it as .obj then select each polygon object then use current state to object command to make a copy of the mesh in that state .
  28. 2 likes
    As a VFX enthusiast, I was excited many years ago when they started mapping the first down lines during live action play in football games (okay...I am a true geek and I don't get out much). I appreciated all the 3D graphics software that was involved: camera tracking to get the line to stick on the field, contrast matting to put the line behind the players, etc. What they are going to debut at Superbowl LI (51) today puts all that to shame and takes it to an extreme level. At the Superbowl, they will be placing 38 fixed cameras around the stadium. Those cameras are going to be recording the action and mapping the players volumes, actions and position - very similar to how the VFX industry uses motion capture but rather than just recording the motions, it also records the 3D volume of each player and then texture maps the recorded image back onto that volume. And it does all that without the benefit of the players wearing reference marks (or those tight leotards with the triangle and square patterns). So what this will enable is a replay in 3D space where you can view that play from the quarterbacks perspective. Literally, put the camera in the quarterbacks helmet and rerun the exact same play...or put in the receivers helmet...or from the perspective of the referees....basically anyone on the field at that time. Not sure how much processing hardware is required but each 30 second clip records 1 Terabyte of data which is then rendered in only 2 minutes. The technology was developed by Intel (go figure) and you can read more about it here. Being from NH and a die-hard Patriots fan, I now have another reason to watch the game! Dave
  29. 2 likes
    Formula Spline has endless creative possibilities. https://drive.google.com/file/d/0B6oErO8ecP3_ZW9LOHg5cHJfNmc/view?usp=sharing And here is a single Formula Spline: https://drive.google.com/file/d/0B6oErO8ecP3_TXI3SnFMUVgwZWM/view?usp=sharing
  30. 2 likes
    Yes, that´s the key point all the technology approaches of the system are same to Arnold. Because the main idea is really very simple. And I also don´t think it´s so slow. Yes, it´s not fast, but I did many renders in the past and they are always very easy and fast to build up/set up (unbiased way) and it does ultracool multipass files those provide very accurate and flexible color grading. OK, you can´t relight it like in Thea or Corona, but you can do something even better - fully colorize all the created stuff without a lose! And, it´s - maybe just mine opinion, it´s even faster than Arnold esp. in several tasks (glass, check the example bellow). Summary: technically it´s a very fast engine that´s limited by several internal features those don´t affect "GI/diffuse" effect itself. They are DoF, MB and Glass/refraction. I love it, I use it all the time :)
  31. 2 likes
    Here's the closest I could come in C4D but it isn't the gorgeous coiled look. I'd bet I could do it in Xpresso but I don't want to spend the required 3 days. Spline Ball.c4d.zip
  32. 2 likes
    Thanks! I was using Vray but wasn't very happy with how complex it can be, so I decided to start putting more effort into the Physical renderer and have been very happy with the results albeit a little slow at times. I really think octane looks great but as a Mac user I don't think it's an option for me right now. I also think cycles is looking pretty good as well. Attached is another render test i just did.
  33. 2 likes
    I believe this is nearly finished. Many, many thanks must go to Cerbera for his assistance in textures and rendering pointers.
  34. 2 likes
    if you want some noise , then just decrease the render quality :)
  35. 2 likes
    few more changes, trying out a tiny mustache, also added the teeth/gums and tongue
  36. 2 likes
    loops can be retuned back... closing loops.zip
  37. 2 likes
    How about this? Formula Effector Source Falloff 5.c4d.zip This is pretty cryptic but I don't get much opportunity to use the Formula Effector so here it is.
  38. 2 likes
    I had some questions of my own which I put to the community over at 3dcoat forums here. My questions where quite well rounded for all who want to know more, and for me as a Zbrush user I wanted to know its workflow. Thanks to the community over there I have some answers in which I feel are important to the work flow differences between Zbrush and 3DCoat in which I will talk about in more detail here. In Zbrush you have two main methods to start sculpting. 1: directly on any polygon object, this method is the most simple, you sub divide and sculpt on one single mesh. 2: Dynamesh which works on an adaptive high polygon mesh which requires you to project the details later onto a low polygon mesh which brings you back to the first method. as a result. 3DCoat has one method of sculpting which is Voxel based. You cannot directly sculpt on your polygon object yet have multiple sub d levels, only a cached decimated version. This then is more comparable to Dynamesh in this respect. 3Dcoat has a workflow that is multi stepped, working at times with 3 mesh types 1: retopo mesh, 2: Voxel mesh 3, decimated mesh. You must go through several processes to have your topo conform to your sculpt, and work on a low polygon version of your voxel mesh which is decimated into cache, and has no direct link with the original topo model until you go through the process of conforming the topo mesh in which you still loose direct control over how changing your low topo mesh effects your voxel mesh and vice versa. As a result if you wanted a fast and simple method to sculpt, Zbrush by far is much simpler using the first option it provides, direct polygon sculpting. 3DCoats one and only method voxel sculpting is more comparable to Zbrush dynamesh, however Voxels gives options to dynamically Sub divide any given area of the mesh, Dynamesh sub divides and distributes over the whole mesh. If Zbrush didnt have the first method of sculpting it would be much easier to decide which app to go for due to the much higher costs of Zbrush, and in many respects if one needs a better painting system and retopo tools, 3DCoat would be the winner. Given that as most would agree Zbrush has a slight edge over the feel of the brush strokes, and does have its much simple method along side dynamesh for sculpting with the opportunity to get Keyshot at a massive reduced price for Zbrush, this tips the scales. The workflow, UI and budget will be the deciding factor as to who goes for which package. In the best case scenario both would compliment each other. Other factors has to be taken into account such as mesh building capabilities, and yearly maintenance costs, as well as new innovative features. Users who already have had Zbrush for many years have had their moneys worth as Pixologic has given every update for free, how long this last we dont know however. Pixologic does not allow licence transfer, not sure if this is the same for 3Dcoat. Dan
  39. 2 likes
    Nice work on the clock. The floor on the other hand doesn't look that good. The overal image would be a lot better if you put a bit of work into that part. Try to make the tiling less noticable, add some bump and change the reflection a bit :)
  40. 2 likes
    There are quite a few directions for this, and to be honest it all comes down to a desired usage and workflow. In all cases if you dont have a reasonable Tablet pen then stay inside C4D for sculpting as its not half bad. Lets say your making a monster and have no set concept, then the last thing you want to be doing is making a base mesh in the traditional way as the base mesh dictates your design choices too much. This is where another sculpting app comes in as there is no way at this time C4D gives you the freedom to explore your design choices fast. Now I dont know if 3Dcoat has some kind of way to develop a fast base mesh that starts the process off for conceptual work, but Zbrush does with Zsphears, shadow Box, and Dynamesh. Here im talking about getting down ideas from your head into 3d as fast as you can think of them by removing all technical restraints. What if your concept is great, and you wish to take this to the next level specifically for animation? Your have 3 choices, use your concept as a background guide to build a 3d model from using traditional methods as a background image set, model around it in 3d space, or re-topologize it. The first two choices any sculpting app can do, but re-topology would be directing at 3Dcoat, as Zbrush re-topology tools are not as good. If you need to get an additional re-topology app then this bumps the cost up for the process, unless your happy to do this in C4D. I use MODO for re-topology in this scenario. There is also the case that your concept sculpting may need a fast render preview to help direct your concept choices. 3Dcoat has PBR Zbrush has BPR, but Zbrush has the option to expand its renderer to Keyshot 6 Pro limited to Zbrush which cost a fraction of the price as the open version but all the features are the same. This gives you a very, very high end render engine in which is linked directly to ZBrush at a click of a button millions of polygons are sent to Keyshot in hardly any time. If your a concept artist you can make your mesh, concept, paint your design and render it in Keyshot for a final image in which your never have to even open C4D. In production for animated meshes things change a bit, as you may come from the direction of already having made your base mesh in C4D, in this case I cant see why 3DCoat will fulfil your needs from that point onward, however your need to look into how good, and easy the process is to produce displacement, and normal maps? The digital sculptor whos artistry is in producing clay like sculptures, and who wants to feel they are in contact with clay, then Zbrush all the way, nothing feels like Zbrush in the response you get from the brushes, this alone for me would direct me to Zbrush as thats a area thats very important to me coming from a traditional sculpting direction. If I was in your position id have a good think on what your direction and work flow is, and your budget. I think for general sculpting C4D is brilliant. Dan
  41. 2 likes
    Ok, now the site is back up, here is a quick and dirty modelling way to get what your trying to do. My version is not very appealing as im not using a mouse, but a touch pad on a laptop which requires a double tap for every operation, but you get the idea in principle. 1: make a primitive cube and drag the length out. Add at least one segment along the Y axis, and several on the X axis according to how many bushes you want. 2: Fast extrude each bush, for better shape do this more than once per bush and scale, rotate as you go, or add slices later on. 3: Apply one smoothed Sub d. 4: continue to shape and form as desired. You can take it further by the sculpting tools if you have them in your version.
  42. 2 likes
    I my sculpting is into two main categories. 1: Design, and concepting When sculpting in this way all I care about is freedom. I normally make a base mesh in Zbrush for its basic volume, same I assume within 3DCoat. This is where I do not want to worry about pols, edge loops, and poly count. I need to beable to design fast, and get whats in my head into 3d form. My concept may at times get taken down the route for re-topology to produce the actual production model. 2: Complimentary sculpting For this type of sculpting iv already got my design, and made a clean topological mesh in C4D, Modo using traditional box, patch, modelling principles. For this type of sculpting it can be for aiding in the process during the modeling process (C4D sculpting is good for this) in which I work on the base mesh without sub dividing, or work on high detail sculpting to add surface details that are to be baked into maps (Zbrush is where I do this). This depends on what you mean by normal. If you mean sub deviding a mesh without changing its topology (Mesh based), then I think it depends on the technology used. In this regard Zbrush uses its own pixol technology which lets you subdivide a mesh without changing its topology into multiple millions of polygons while allowing you to move up and down its sub division levels at will much like in C4D but much better, on my system I can get 36mil polys without any slow down what so ever. On the other hand Zbrush has another method which is called Dynamesh, this does alter the topology and evens out the distribution of the polygons which makes for sculpting smooth in which the resolution can be taken higher and higher as you go without any stretching of the polygons. P:S, maybe these questions should be on the blog, these are good questions? Dan
  43. 2 likes
    My Zbrush videos provide a very basic overview of the first things I think id need to know right from outset before even demoing the application. I can however expand this a great deal by showing a project being made from beginning to end, and how it at least fits into my pipeline. As you most likly know by now, I use a few tools in my pipeline, and see these as mearly just that, tools. While I favor some features in one app over another, I try my best not to get caught up in the X vs Y wars because I think each artist has their own way, likes, and disslikes and at the end of the day its what works best for each individual, that why I never rule out any app, and am willing to give it a try to see if its tools help me be more creative, and work faster than I currently do. This Link, takes you to Pixologics own preview of Zbrush, and gives a overview of a more all round look at its features. Dan
  44. 2 likes
    Here is the playlist. You can choose chapters from top left of video. I will add more videos as they upload.
  45. 2 likes
    2 is more efficient, but 1 is more even and nicer edge flow, and has a neater defining rim of polys all the way round, and less 4+ poles and is therefore preferable (to me at least!). CBR
  46. 2 likes
    Yes, of course. But I will demand from you guys to find your images and send them back to me with the info I will need. Because I think it would take me ages to do all of that by myself and for you it would be couple of minutes I guess. Actually we have implemented new system, but its disabled at the moment.
  47. 2 likes
    OK, I think I've figured out what's going on (and yes, this does seem to be either a bug or a major oversight). Instead of using the "Merge Objects" command, I simply opened the .c4d file as a project. Low and behold in the Project Settings, it showed the units as cm instead of inches. I changed it to inches and now when I merge it into a scene it comes in at the right scale. So, what is happening is that even though my project and prefs are set to inches, and I have a custom default template that is also set to inches, when you use the "Save Selected Objects" command, all of that is thrown out the window and the C4D default of cm is used in that new .c4d file. Truly, this is a pretty simple fix. All MAXON needs to do is create a dialog box to verify and/or set the scale when you use the "Save Selected Objects As" command instead of just saving a default .c4d file. Here's the workaround, step by step: 1. Use the "Save Selected Objects As" command to save your object for use in another scene 2. File->Open and choose your newly created .c4d file containing your object 3. CMD+D to view your Project Settings 4. Ensure that the unit of measurement you want to use is chosen 5. File->Save 6. Go ahead and "Merge Objects" in another scene file and it will come in properly
  48. 2 likes
    changed glass refraction to 1.42. first image had it at 1.02
  49. 2 likes
    Update: I had already mentioned this in the CGTalk thread, but didn't simply want to copy the same information here. As such, I waited for more news before updating this thread. Big news for Mac users !!! A few days ago, Rick F. van Koert (a very generous member at CGTalk) did send me a Mac Mini, completely free of charge, in order for me to compile the plugin on Mac OSX. Still trying to find my way on a Mac ... cursing a lot, but enjoying the experience. I have managed to build WIP 4 in Xcode and test it in R17.055. However, further testing needs to be done before releasing the Mac version to the public.
  50. 2 likes
    I added a link in the Downloads area to 30 Gb of free example and learning files which I have collected over the years. A lot of those older files which have been lost in the Cafe transition are there. However on lots of them the names have been changed but are organized as to function such as Inheritance Effector. There are loads of them by SREK, Hsrdelic, Brasco, Mabad, Darby, and multiple other smarties! The main folder is New Work. There is a lot of fluff there such as lamps and chairs and such but go straight to the biggie folders like Mograph, Xpresso, Character Animation, and so on. I have a ton of medical stuff too which I did not include but if anyone wants that too I can add it. The materials will occasionally be missing graphic links but I did not have the energy to save every single file as a Save with Assets. I hope you enjoy them and can use some of them to save time at work or at least come up with new creative ideas and techniques? Don't expect to explore them all in an hour or so however, there are a LOT of files there. Send us a SUPPORT ticket if you want access to files. Make sure you choose correct ticket (Storage Access Request). Thank you!!