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    • Class 17 - Fish school Summary: Building an Xpresso based MoGraph ready Fish school rig Duration: 12 min File size: 155 MB
    • @westbam Yep, already started using this method in my film. Seems to work much better than the material glow.
    • A tool like that might be useful, but why not just create render setting presets that you can switch between at will? I mainly do still renderings, so I typically have 2 settings: one for reduced quality previewing and the other for high-res 'final' rendering.    So, for an animation, you might have 3: one setting for 'Current Frame Preview' and another for 'Range Preview' and the last for 'All Frames Final'. Of course, you can have as many as you need for your specific purposes and you will have to get used to remembering to switch it.    With this method, you can minimize the need to remember which boxes to check off and on.
    • To add a little to @westbam suggestion, to get more realistic secondary motion, you could add geometry to your forks and/or cloth dynamics or something similar with a Jiggle Deformer and get secondary movement after they are hit so that they have more realistic "spring". At the moment they appear to be cubes and in real life, objects like that would be made of thin metal and they would have some flexibility rather than rigid as you have them set.
    • Cool way to ask a question. Some ideas that pop to mind, use some fake hidden geometry, like a cube, with a collider body tag, to place under the whole setup, so the cube with the connector connector can't fall down after it is triggered. And since it is bouncing back to that cube, you might get some extra free vibration.  
    • Hi Ed, did you ever figure this out? I'm trying to get the shadow catcher to render out the shadow with contact shadows created by AO but I just end up with one big block shadow.   @pixeltrick when using Physical try setting your light's shadow settings to Area.
    • Once you've made it editable, you can't then go back to parametric unfortunately (without using undo to get it back to a parametric state of course).   You could edit the mesh to get the same result by selecting edges and using the bevel tool and/or sliding the edges to expand them out, but that may be more work than restarting it for a simple job.   You don't mention why you made it editable to separate the word into letters, but it may be possible, depending on your needs, to keep it parametric so that you can manipulate each letter and keep it editable so that you could change the Fillet Cap. This would only be useful for future projects of course, not now you've made it editable.
    • Hi everyone,   I will be slowly getting back into defining this club after a brief break. I was very busy getting 4D Publish 1.7 done as well as working on client projects.    The last 2 updates to 4D Publish were all about painting. But I also added in some sculpting tools as well. I am not trying to spam my own products here, but since sculpting and painting is one of my favourite things to work on, and the reason I started this club, there is no harm in showing you these tools.   To begin with there is a new brush called the Sculpt Projection Brush. I built this mainly to preserve the shape of the eyes when sculpting by placing a sphere in where the eye socket is. But this has a lot of other uses as well. You can use any mesh as your object to project the sculpting onto.     I also added in a new object to easily allow you to animate your Sculpt Layers, its called the Sculpt Animator.     Then there were lots of editions to the painting tools. Which also now work with the Sculpting tools, using sculpted areas to mask out textures and more.     And lastly I wanted everyone to be able to paint directly onto Reflectance Layers. Including having a much more intuitive UI for selecting what you are painting on.   This was even more important now that R19 supports the PBR workflow. So now you can paint directly onto PBR materials. It works great, R19s OpenGL improvements make the painting experience silky smooth and it looks fantastic with the viewport enhancements. If you have R17 or R18 you can also paint on Reflectance Layers and it is also very fast, you just need to press an additional "Paint All" button on the Material View.     I am developing these tools for people like yourselves who would like to sculpt and paint in Cinema 4D. So if you have any features that you would like to have you only have to ask.    Everything can be found over on www.4dpublish.com   Cheers, Kent  
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