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  2. New video available! This time we build a procedural page rig with MoGraph and Xpresso - enjoy :) https://www.youtube.com/c4dcafe
  3. Much better :) Glass is very much in that sort of range, so 1.5 is a good starting point, but in reality the IoR varies across the windscreen, being highest (most refs) in the center, and fading off at the edges AS WELL as any fresnel-based falloff. You can fake this by popping a U gradient in the transparency map slot (grey to to white to grey), but of course you will need to make sure your texture is mapped properly for that to work... if we're honest, most people don't bother :) CBR
  4. Video: I have two objects, I want to only render the first object, but I want the second object to hide what can't be seen from the first object when both objects are visible. How can I do this within Octane? Thanks!
  5. Today
  6. Hey all, I have been wanting to expand my material workflow into Substance. I'm wondering if anybody knows of a plugin or workaround for Substance, that would allow me to preview preset materials within c4d? Something similar to how a .lib file displays a grid of icons/thumbnails in the content browser. Currently, I know of the Substance Player, but its a standalone software and still requires back and forth. (Also, you can only preview Substance Source materials. Third party .sbsar files are a no-go) My biggest issue with .sbsar files is that I have not yet found a fluid way of browsing the materials. Essentially, you have to load your textures one at a time, from a list of file names, before you can see a preview. This is counter intuitive and super time consuming. Any insight on a solution is much appreciated. Thanks!
  7. These look really good, but I'm curious. Are you using subD?
  8. I think I got it. I ended up with only the transparency chanel, refraction 1.52, no exit reflections, Fresnel reflect 100% , Fresnel texture, mix mode normal and absorption distance .001 ( went from .1 to .01 etc bit couldn't see any difference.) Only issue is I believe the refraction is too strong.
  9. thinking about it, its probably a bad idea to do the second row as frames 36-72 etc ( only in file above ) as that will change the inheritance rotation I believe, so prob best to keep the frames to 36 ( or your chosen output ) and then do the elevations as different takes. Deck
  10. Ah yes, if there is no thickness, then exit refs are irrelevant :) Adding thickness is a total breeze though. Lesser people use cloth SDS for that sort of thing, but we shouldn't, because it doesn't come with control loops. We should just select all our polygons that comprise the window planes, extrude a very small amount (with caps, and 2 segments), reverse the normals if they need it and you're done. Always do the thickness my friend - Cinema is not expecting something that doesn't exist in the real world - light just can't react realistically if that's not there. CBR
  11. Sounds like you pretty much have it. You are aiming for that hemisphere outline with the camera. You can send the camera around the objects but generally I find its better to keep camera still and rotate the object. Rather than mess about with splines just drop your camera in a null that is in the centre, I think you referred to that when yo said "align" to null. Heres a basic file I was pitching to a guy that did cars in the real world, Ive set this one up with a time effector to take care of the rotation for me, and as it was a single row ( for a car ) I didn't need to elevate the camera but for the next row you just rotate the null up a bit, so i have this file set up for 36 frames, so each step will be 10 degrees, this makes for a real smooth playback, but you can go as few or as many as you like, ecommerce type stuff tends to be half that or even less as you have to retouch each image, its a right pain. So if you choose 10 degrees of rotation you may want to choose 10 for elevation too but it could be different, there are no rules on that. Obviously the combination of rows and final resolution will contribute to the final file size, but they don't need to be huge print files and if its not on the web then it doesn't matter. Its nice thing to do in cinema cos all the files are perfect, unlike the real world where a kick of tripod or nudge of object means you have to start again. So with the object rotting 10 degrees per frame, you just output the 36 frames and you have one row, elevate camera for as many rows as needed and your done, pour those into your app of choice and output flash interface or whatever you need. probably best set up row 2 from frame 36-72 etc and so on, Rambled a bit but think Ive covered it, it works really well when done, and easily put on web if required, a joy to do in cinema compared to real world. Deck PS, it doesn't have to be the full 360, you can cover as much or as little as you like, just needs to be setup in the app to match your angles for the output viewer. VR turntable basic.c4d
  12. Thank you so much for your comments, very encouraging. I 'tampered' with exit reflections but it didn't make any difference and I don't know how to achieve real world thickness, google just can't solve all life problems sometimes :)
  13. That's looking very nice, and has been built with far more polygon efficiency than we'd perhaps normally expect for this sort of model. Texturing is superb, especially on the car paint, but something is off about those windows for me - is that they don't have real-world thickness, or have we got 'Exit Reflections' left on in the transparency department ? CBR
  14. That is a neat little tool, and even though it's very nice and very easy, it is actually making decent proper geometry there, so you can get that nice warm fuzzy feeling when using it :) CBR
  15. Oh, that’s really cool. They look neat. Thank you.
  16. Select the null that's called "controller" - and than you'll have all the options in the attributes manager Peace, Kobi
  17. Few options. The challenge will be that each chunk will need a frozen texture at the time it breaks away. I'll assume that the crumble will take 60 frames. That is a lot of individually frozen projections. Shrink that number into 4ish chunk groups and freeze the uv's 4 times along the 60 frame transition. I would then use the velocity of the chunks (moving/not moving) to transition between two copies of your character. One live projection copy and one baked uv copy. How you drive that velocity largely depends on how you trigger your dynamics. Are you using mograph fracture object for example? Another option is to unwrap your live plate into UV space as an animated sequence texture. I would still use velocity as a compositing pass to transition from raw plate to CG distorted plate in NUKE/AE.
  18. Looks great. Stitching and textures are spot on.
  19. Hi, I’ve been learning c4d for a little more than a month now, but I couldn’t really figure it out how to generate all the screws in this file which was downloaded for free from the internet. It is supposed to offer 7 different types of screws. If you know how it works please let me know. File attached, Thank you. Screw_Generator.c4d
  20. That looks interesting. Can you expound on your camera setup? My first thought would be to target the camera to a null centered in the object and have it aligned to a circle spline. Then divide 360 by the number of shots I want to know how far around the circle to go with the cam for each shot. Once I do a full rotation, I'd move the circle spline up on the Y axis and repeat it. Does this all sound about right? If so I'm not sure how far to move the spline up for each row. And does the circle spline's radius decrease as you move it up kind of like matching a hemisphere over the object?
  21. I'm camera projecting a plate onto a model that was animated to follow the character. Ultimately, I'm making the character crumble away. My issue is, if my material is set to Camera Projection it the plate follows along with the model as they are in sync, but obviously when the model starts to break apart those pieces no longer have the right texture because it's still just projection the plate. So those pieces need to have stuck UVs. If the model was completely still I would right click the Material and choose 'Generate UVW' and then it would stick the texture and follow along correctly as the model broken apart. How would I go about this with a moving model that needs to have a camera projection, but need to find a way to make the pieces have a UV that is stuck just before they break off. Does this make sense?
  22. Omg, thank you guys, I don’t know what I was doing. I must of pressed a hot key or something that put it in 2d mode I’m not sure. Now it’s working fine. I appreciate all your guys help!!! Much love guys
  23. Well I am really happy with this. A few firsts for me and a few mistakes. Any comments and consructive criticism welcome.
  24. Wow that's fast compared to what I'm using. I'm guessing I'll be limited to what I can do with upgrades for a macbook pro laptop. Still don't understand why my dual core 1.7 GHz air is faster than a quad core 3.4GHz iMac. Thanks
  25. Yesterday
  26. For what it's worth, I have the 2013 Mac Pro trashcan which is from that time-frame, but with a better chip. Mac Pro (Late 2013), 3 GHz 8-Core Intel Xeon E5, 32 GB RAM. Rendered in R19: 1 min. :59 sec. Rendered in R20: 2 min. :01 ec.
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