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RenderStorm Farm

About This Club

A place to discuss workflows and challenges related to creating fully-animated films.

  1. What's new in this club
  2. Seeking Collaborators for Short Film

    Here's shot i did a few weeks ago for fun, i thought i'd share it with you. I can improve this by a lot as well as scale it to fit for any scene. I should also mention, i can have it be affected by wind and things like that. Enough of that, have a look...
  3. Seeking Collaborators for Short Film

    Don't worry, this is my first project collaborating as well! I'm out of town for a few days, so I'll send you a message with some details when I get back next week. The two big grass challenges will be designing overgrowth/undergrowth around objects like a tree and a bench, and figuring out how to optimize the grass for renders. There will be frequent close-ups of characters/objects in the grass with some dynamics to push it around, so we'll probably want to carve up the set into foreground and background grasses. Thanks!
  4. Seeking Collaborators for Short Film

    I can create photorealistic grass, it's one of the first things i learned off C4D. Structures as well, but i think i'd start off with just the grass and take it from there if time allows. What's the scale for this scene? I've never collaborated before, i'm such a noob, if you can share more details with me i'd appreciate it :)
  5. Seeking Collaborators for Short Film

    At this point, I just need help with the background, set design (peripheral models), and the grass. If one of those things interests you, let me know. :)
  6. Seeking Collaborators for Short Film

    Congrats @DeCarlo for The Encounter, it looks cool and entertaining. Well done work, wish you all the best. Btw have you found anyone to work with you?
  7. I've used ToonBoom Storyboard Pro to create the storyboard and animatic for two short films now. Each time, I've gotten to the point where I needed just a little more work on the animatic to make it really useful, but instead completely abandoned it in favor of blocking and rendering a pre-vis in C4D. I simply get to a point where I feel I waste my time trying to refine my mediocre drawings, while I can get a much more refined sense of motion and timing with pre-visualization (really rough blocking/animation/renders). Later, I'll reach another point where having a current storyboard is crucial for managing rendering - shot numbers with accurate run-time/frame count. So I end up replacing my drawn storyboards with stills from my pre-vis. Does anyone have a different storyboard/pre-vis workflow that is working for them?
  8. Suggestions for camera shots.

    Thanks for your thoughts DeCarlo, No it's not to late, i am still animating and adjusting the scenes. i think you nailed it, the driver POV will be the one i will favour in this shoot as he is the main character.
  9. Suggestions for camera shots.

    Sorry, @digitvisions just noticed this post! I'm guessing this reply is way too late, but I'll share my thoughts anyway... You've described symmetrical shots between the driver and pedestrian, which is giving them equal treatment on screen (the audience sees from each character's perspective equally, building an emotional bond with each). This seems most appropriate if your scene is about two important characters coming together. If, however, one is an important character, and the other is just there as a plot point, I would (personally) remove the shots from the perspective of the insignificant character (the POV and the OTS). So if the driver is the important character, the audience would only see the pedestrian from the driver's POV, or from a neutral, "objective" perspective. Between those two options, the difference is whether you want to show the audience that the pedestrian is there, or if you want to show the audience that the driver "sees" the pedestrian - which will produce two different types of tension in your scene leading up to the collision or near collection.
  10. Suggestions for camera shots.

    HI, I have a scene where a car is approaching at high speed from round the bend and forced to stop soddenly when a pedestrian is crossing the road on a pedestrian crossing in front of it. The question is how would you approach the order and angles of the shots? the options i was thinking of (not in the right order) are: Driver- POV, pedestrian-POV, Medium shoot of both car and pedestrian from behind the pedestrian shoulder, Medium shoot of both car and pedestrian from behind the car. Closeup shot of driver's face, Closeup shot of Pedestrian's face. I will be interested to know what your thoughts are. Thanks in advance.
  11. Seeking Collaborators for Short Film

    The first image is easy enough to make. Send me a model with the rough shape of her body when ready. The body does not need good topology and does not need any textures. I'll make the cloths from that. 3dcoat could be used to rough the body out and whatever geometry it spit out from the reducer would work for the cloths.
  12. Seeking Collaborators for Short Film

    Keeping everything within C4D would be much preferred; I've not used Cloth in a project before, so that will be a challenge in and of itself. If you're able to setup the Cloth dynamics, that'd be a huge help, otherwise I'd want to do a few tests before committing to adding it to my workflow. The first image I posted above (the simple drawing) was my idea for an outfit without cloth dynamics. It's simple and would serve the story fairly well. Below was my attempt at modeling the dress from a few years ago. It looks okay, but I didn't know anything about how to design good topology, so I don't expect it to be usable. And I suck at texturing. Ideally, the dress would have two variations. The first would be something this girl would realistically own: simple fabric, maybe some wear. The second variation would be with fancier material and details, essentially her fantasy version of the same dress, which I'd switch to when her imagination starts taking over the story. If that was easy enough to create side-by-side, especially if it's just switching materials on the same mesh, it could add some beautiful flare to the story.
  13. Seeking Collaborators for Short Film

    The speedtree license could be expensive depending on which license is done. Maybe if I saw a sketch of the cloths and it looked easy to do. The original dress in the pictures with the shininess and colors looked so cool I though it would have been neat to make and see flowing around. This is also the problem as that means a lot of cloth physics that would probably also have to be done in Marvelous from an exported character animation, then have the cloth animation reimported into c4d, so I understand why you would not want to do that. Depending on the animation c4d cloth might be good enough. It depends on how she moves and what is happening.
  14. Seeking Collaborators for Short Film

    @Fastbee Thanks! I took a couple months off after a long production, but I'm ready to up my game for the next one! SpeedTree looks cool, but it looks like you also need to license the software? I think I've already found a tree model that I'm pretty happy with; I was more concerned about the VFX. Of course, after my original call-out, I actually went through my old project files and I remembered that I had solved it! I kept trying different types of dynamics or mograph solutions, and after a number of failures, it finally occurred to go the simple route and simply rig the tree with a few bones and animate the limbs/leaves manually. I'd still use MoGraph to make the individual leaves flutter, but I actually nixed her dress to go with a simple sort of androgynous medieval shirt and simple pants, like corduroys. Is that still of interest to you?
  15. Seeking Collaborators for Short Film

    Congratulations of finishing your other film. I remember you talking about it not long ago. Finishing a short like that is something a lot of people have not done. For the tree I'd recommend looking into Speedtree. Their trees are amazing. If they don't have a tree you like making your own is easy after a few hours of learning the tree making tool. I just bought Marvelous Designer so I'll help out by doing her little dress if you like. Let me know when ready.
  16. Hey, folks! I'm starting my next short film, "Summer Days," and I am looking for help with a few key components. The items below are areas that I feel would help me the most. If you're interested in helping in another way, let me know (anything off my shoulders is ultimately a good thing). Note: the film is already written and storyboarded. "Summer Days" is about an imaginative young girl (8-10) who has a fantastic adventure in her back yard. It opens with her being "chased" by her stuffed animal, who "plays" the villain. Her imagination slowly takes over, and by the end she fends off a dragon with a magical sword. It will be about 6 minutes long. Modeling the girl. See the rough design and a modeled head below. (I decided to go with more of a Tomboy look than the dress shown in the concept art.) UV unwrapping and texturing would also be very helpful. Background design & modeling. The entire film takes place in the backyard of a rural Midwestern U.S. home: cornfields, fields of tall grass, small hills, deciduous trees, etc. I can provide reference images, as needed. Set design & models: toys and other peripherals in this yard, including yard tools around a shed. Objects should be fairly simple and appropriate for the 1990s. Hero tree: The film is largely centered around a large deciduous tree (e.g. a maple tree). It needs to be designed to interact with the wind and the dragon, including leaves rustling, branches swaying, and partially lighting on fire. I did a lot of initial work on this a few years ago, so we can chat through various techniques that I explored. Potentially, C4D has developed some new tools that can help since I last looked into it. Grass: Someone to design the grass of the yard, including patches of wear and overgrowth, designed for significant physical interactions with the characters, as well optimizing for rendering (e.g. separating into sections/layers). I am almost finished with the animatic, so if you're considering helping out, you'll be able to see how the film plays out in the next week or two. Side note: my latest short film, The Encounter, is a 13-minute sci-fi adventure comedy that has just started getting accepted to film festivals in the U.S. My hope is that "Summer Days" will be my last short before I launch a feature animation.
  17. Version 18.057

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    https://www.youtube.com/channel/UCxmlzKxEPWBbMcmL1YlxYxA
  18. Workflow tips for long sequences?

    No, I thought it might have been that so I checked a normal single pass as well as a non EXR render and they both had problems too. I think it's something to do with the file path. If I remove the "." at the start of the file location then the error message goes away, but obviously when you try to render it kicks out an error message because it doesn't actually know where to put it... Anyway, getting back to your original topic - multi pass is a great time saver for long sequences! I've got a default multi pass setup saved in my new file, and it prevents me having to faff around splitting and organising every single shot into passes. Also, using EXRs really appeals to me because I don't have to fight my way through organising anywhere near as many files. I thought getting my head round that workflow would take ages (because I'm old now and, like Garth, fear change), but it took a couple of hours max to work it out and I definitely wouldn't go back. Give it a crack, you won't regret it. Promise ;)
  19. Workflow tips for long sequences?

    Aha, I have not attempted to do multi-pass through the queue! I break scenes into layers and use takes, but I am just not doing that degree of compositing in my work right now.
  20. Workflow tips for long sequences?

    Curiouser and curiouser... ;) I'm getting this error - invalid output multi-pass path. Doesn't seem to make any difference if it's not an exr or if it isn't multi-pass. Just dug out the response I got from MAXON when I originally had the problem: ---- If you take a look at this quick tutorial, it shows using Takes with the Render Queue, it notes that the tokens isn't yet supported in working with Render Queue, and I am sure you have tested this with your R19, this video is for R17. https://www.cineversity.com/vidplaytut/how_to_render_takes_with_the_picture_viewer_render_queue_and_team_render It looks like this has been reported already, in fact when tokens was introduced and is only an issue on Windows OS, latest update was the problem exists for both 18 & 19, so I have +1 the bug report to keep it on the radar, and hopefully we will see a fix for this soon, as the functionality is in place, but just not working for Windows OS at this time. ----- So I guess maybe if you're on 17 the problem has vanished with an update for you, then reoccurred for 18 and 19? Sorry for hijacking your thread as well, dude... ;)
  21. Workflow tips for long sequences?

    Nope. I just confirmed that the queue will create the folder /$rs/ when I run a new job. What happens when you use tokens in the queue? Does it complain about the file path and reject the job? Are you trying to save to a location other than your primary computer (like a network drive)? I am running Windows 10, if maybe that has something to do with it.
  22. Introductions!

    Pretty cool, @everfresh! I've only played with the cell shader a couple of times and it seems like it takes a lot of skill to produce a nice aesthetic like you've got going on there.
  23. Introductions!

    @digitvisions Thanks, I find it incredibly helpful to know where people are coming from and what their interests are. My involvement in the Cafe has been pretty sporadic over the years, and only now that I am truly pursuing animation full-time that I am taking the effort to become more involved.
  24. Introductions!

    Hi, I don’t usually do introductions but I will in this occasion since you started it. I always since my childhood days was fascinated by comedy films mainly black and white in those days and the Walt Disney animations. My interest in how animated films were made and CGI came to me late in life (about fourteen years ago) when I was watching my kids play computer games. I started researching varies books and internet tutorials for information. By sheer accident I found out that in my own town there was a university degree course in animations, I did three years full time study and specialised in my last year in 3D computer animations. Since then I did some work for other peoples projects second or even third hand just to get the experience of the industry and to pay for my very expensive software and computers. I am actually a self employed landscape gardener, that’s what pays the bills. I will be retiring from my very physical demanding job soon and hoping to devote more time to my animations.
  25. Introductions!

    i'm a graphics designer and i've started learning 3D to around 12 years ago. today my professional workload consist of like 50% graphics design and 50% 3D work, mainly product vis, motion graphics and character design, rigging and animation. i've been using C4D for around 5 years now and made quite a few shorts and also other animation projects with it in my spare time. haven't made a real short in a long time now, mostly due to constant work overload and lack of ideas, which might be related somehow ;) ... instead i was doing smaller personal projects which could be realized with in a couple of days rather than a couple of months. most of my stuff is cel shaded, although i have also done more realistic stuff, for personal short film projects i always end up with toon shading, it's not only because i like the look of it, it also renders fast, which is very convenient if you do shorts and it's no big deal if you render a scene like 10 times before you're happy with it. i think this club is a really good idea, since the C4D userbase for character work and especially short films is rather small and it's good to have a dedicated place to exchange knowledge and ideas. here are some of the shorts i've made, for more stuff you can visit my vimeo channel.
  26. Workflow tips for long sequences?

    Ooh. Now that *is* interesting. And nope, it's all pre-set in my render before I stick it in the queue. Does your folder structure already exist? Perhaps the issue I have is in creating a new folder from the render queue (I output to image sequences, so I tend to create a new folder for each render).
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