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  2. Well, the good news is that it's quite easy to make hair look like that, and the hair tool(s) are very much up to the job in this case. No need to do it with 'fur'. Grooming it can be done with the hair tools like brush, comb etc, all of which you can find about in the manual or by watching one of the more comprehensive hair tutorial series' that are floating about youtube... here's a good one from cafe member @Rectro which is very well regarded and thorough, though probably way more detail than you actually need to make this. You only really need to know how to apply hair, how to alter its length, and some general basic knowledge about the hair material which controls its overall appearance to make this, so perhaps this starter hair video is more useful to you than the complete guide above... The secret to producing really nice 'luxury' fur is to have very thin hairs, and many thousands of them, and to get the scene lighting right, on which fur looking good so heavily depends. Just 2 omni lights with soft shadows would be ideal. You also want to render with Standard Render, not Physical because hair always looks better with the renderer it was designed for. CBR
  3. Thats awesome...and how do you achieve this?
  4. The problem that I will run into regularly is a rendering license in the office (TR or DR) and me at home wanting to work. Strictly speaking, this is a violation of the license and therefor not possible. I think that this is something that should be possible but I will have fire up team render server and copy the stuff around everytime to avoid this.
  5. Today
  6. Hi guys, I'm trying to make a fox tail model to add to some cosplay photos later in photoshop but I haven't figured out the best way to add the hair to the mesh yet, I also haven't really used this part of C4D much so I'm having some difficulties. Here's the mesh I'm working with: Something like this would be the ideal look: Would it be better to use the "Add hair" tool or the "Fur" tool? I'm also not sure which is the best way to groom the hair properly. Thank you in advance!
  7. Oh by the way, I do wonder how some fringe (or not-so-fringe) cases are handled. Let's assume I have a desktop at the office, and a laptop for home, and I have a C4D installation on both. Now after working a while on the laptop, I forget the laptop at home when I go to the office, and use MyMaxon to unlock the laptop license to start work on the desktop. So far, so good. Now, I fire up an overnight render at the office and go home. There, I start the laptop, and... ...would C4D start? The laptop still has the license for 14 days, and is not automatically aware that the desktop stole the license under him. According to what we've been told, C4D only checks the license every 14 days. The laptop installation would not see a need to check the license; unless of course C4D checks the license on every start and notices that the license is gone, which is the opposite of what we know atm. ...Even if C4D checks, the laptop may not have internet at the time, and therefore cannot check, and must rely on the 14 days of remaining license time. Thus, C4D would start, parallel to the still-running desktop who actually has the license now. Now that we (intentionally or accidentally) tricked the laptop into starting a second installation in parallel... ...would MAXON notice? Once we switch off the laptop, and return to the office, and keep working with the desktop (who still rightfully retains the license) - the desktop would not see any need to complain, as it got the license fair and square, and anyways the laptop is offline now. Once the desktop is down for the night, and we return home and fire up the laptop... well, let's assume the laptop now wants to check its license, and everything is still fine because the desktop has released the license and it's available. ...MyMaxon could, theoretically, know that the desktop held the license all the time. But the laptop never connected to MyMaxon until now, and right now everything is apparently fine. MyMaxon doesn't know that the laptop was running in parallel. Did we game the system? In theory, the laptop itself could now say... ...hey, I've been running on this license at a time when the license was actually taken away (I can see at MyMaxon what happened to the license last), now I'm going to tattle at MAXON and complain about a parallel use! That would however require MyMaxon to actually store much more information than just "a license is right now available". It would need MyMaxon to remember when the last checkout of a license happened, and by which machine. No, more: it would need MyMaxon to remember every checkout forever, because I could release and reacquire the license several times on the desktop before ever using the laptop again, which would overwrite a single "last checkout" date. Plus, the laptop installation would need to store its runtime at least locally, and compare that against the retrieved information about license checkouts from MyMaxon. Even so, the information would not be conclusive... ...the laptop can only tell that its license was stolen away at a certain time. It cannot tell whether the desktop installation was really active at the time when the laptop installation was fired up. I might have shut down the desktop already before returning home so all the usage would have been totally fine because nothing happened in parallel, and if the laptop would have seen the need to check out a license it would have worked all right but it didn't bother to check so it's C4D's fault anyway. ...which means the only way to discover parallel use of a license would be to log each and every start and end of C4D locally, and send that data to MyMaxon when a connection exists, so it can be compared in a centralized point. Naturally, MAXON cannot do that legally (or is it in the EULA? Did anybody read the EULA?); plus there is the issue of correct system times, time zones, uncontrolled aborts, sandbox usage, and other stuff that might falsify such usage lists. So we can assume that MAXON doesn't do that (or bothers to). Just so we don't forget how complicated this licensing stuff really is...
  8. You don't need to fire up the other computer again to log out of the license, you can do that over the internet on the MyMaxon site. There you can release any license currently assigned to a machine, even if that machine is switched off. You don't want to log out of the license automatically because what would happen if you are just working with one machine, and the next time you wish to start C4D the internet is down? Then you are logged out of the license, and C4D cannot retrieve the license from MAXON due to a missing connection, and won't start. It makes sense that C4D can start on the last-used machine again for a while before requiring a new game of fetch-the-license. Of course if you are constantly switching between two installations, it might be practical to use the quit-and-release-license button all the time. If you want that, you can reconfigure your user interface so the normal quit shortcut points to the quit-and-release function, and the normal quit menu is located somewhere else lest it be triggered accidentally. Then you just have to avoid using the Windows X button (because you cannot reconfigure that...).
  9. Looks like with the CryEngine they did it in real time. https://youtu.be/bnvmB9iztaM
  10. What render engine are you using? With eevee this quality could probably be done with about a 3 sec. per frame render time.
  11. AMD came up with ProRender because at the time all GPU rendering was done with Nvidia and they wanted to show how good AMD video cards could render. Now Cycles can use both AMD and Nvidia. The Radeon VII actually currently runs cycles at about the same speed as the RTX 2080 ti. This is without using ecycles or RTX acceleration. With RTX the RTX Nvidia cards will be 2x faster than Radeon in Cycles and use way less power. Radeon VII does have 16GB of RAM. That can be a plus if you have big scenes. I've never got near the 12 gigs on my titan x though.
  12. Yesterday
  13. It's not a big deal, but I have accidentally done the wrong quit several times and had to go back, log in and out on desktop while going back and forth with laptop. I'm just curious why "quit and sign out of license" isn't the only option. If there isn't a limit per month or anything, maybe it makes closing down slower?
  14. How the heck is that thing not in the standard unwrapping interface? I didn't even know this existed...
  15. danijelk suggestions are good for your budget. I'd also look at Cycles. Good thing about learning Cycles4D is it works exactly the same in Blender which is becoming ever more popular. Cycles is also really fast.
  16. Hallo DasFrodo, You can just drag the volumebuilder into the fiel list in the field force. It helps to either add a normalize layer in the volumebuilder or to normalize in the field list in the direction tab if you activate remapping. The default volume vectors are quite short. Regards Fritz
  17. In this Cinema 4D Quick Tip we take a look at how we can create our own colour scheme, and how we can save it as a preset. If you would like to support Digital Meat, or follow me on social media, see the below links. Website: Digitalmeat.uk Patreon: https://www.patreon.com/DigitalMeat3D Merchandise: https://redbubble.com/people/digital-meat Support: https://digitalmeat.uk/donate/ Facebook: https://www.facebook.com/digitalmeat3d/ Twitter: https://twitter.com/digitalmeat3D
  18. Found it! You have to go into your field Ffrce object and add the "volume object". Your cursor changes to the selection tool and THEN you have to click onto the volume builder object in your object manager. Also, in my case, I had to turn the force of the field force to a pretty ridicilous number to actually get an effect out of it.
  19. Hi everyone, I just got my hands on the new R21 and I'm playing around with Field Forces. Now, already after 15min I noticed how complex this entire topic is and I've almost never used fields at this point, so that probably doesn't help at all. I created some vectors with the help of the Volume Builder and now I want to use those vectors inside a Field Force. I have no idea how to get these vectors to work inside the Field Force though. It's probably super simple, but I can't find it. The vectors are definitely there, I can see them in the preview: I have attached the sample project as well. Does anyone of you know how to accomplish this or are the Field Forces still a giant blackbox? Thanks! EDIT: I've just looked at the documentation some more. Unfortunately all it says, or at least what I could find is this: "What are these Volume Vectors good for? You can, for example, control forces using the Field Force." VolumeBuilderFieldForces.c4d
  20. Was explaining this to a friend and made this in 5 mins. It shows C-Motion and how you can get feet to match terrain in a few minutes. C-Motion is quite neat no ?
  21. Redshift versions 2.6.47 and 3.07 do not support TFD on R21 yet. The Redshift developers have confirmed that the next builds will add support. There is a simple workaround to make versions 2.6.47 and 3.07 load TFD correctly, though: Go to the TurbulenceFD folder that you extracted when installing the plugin Rename the file TurbulenceFD_R20_1448.xdl64 to PleaseIgnoreThisOneRedshift.xdl64 Rename the file TurbulenceFD_R21_1448.xdl64 to TurbulenceFD_R20_1448.xdl64 Restart C4D This works because C4D does not care about the filename and Redshift only loads the files TFD_loader_R15.cdl64 (which handles R15 through R19) or TurbulenceFD_R20_1448.xdl64 so far.
  22. here is short video... https://www.dropbox.com/s/gv48gvvyvx47dxc/UV_Peeler.mp4?dl=0
  23. Wow... This is awesome! Never noticed this feature, real time saver! Thanks a lot!
  24. Not sure if is in your current version, but check with commander (Shift+C) UV Peeler command. With this command it is just few clicks solution... I can create short video if you want.
  25. Hello! I'm trying to unwrap a simple round cap to a rectangle, to help facilitate the texturing of concentric circles in Substance Painter. Right now, I'm unwrapping it by hand and making my own rectangle map, but is there a way to do this more easily? Here's my current method : Making a front projection to have a perfect circle Select 1/4 of the cap's outline edge Select an horizontal edge from the middle Relax the UVs (this gives a sort of looping curve) Separate 4 individual UV island I put them side by side and start aligning the points This method is rather time consuming and I was wondering if there was a better way to select edge loops to minimize the fiddling around.
  26. That's quite a broad question At the simplest level ferns are quite easy to texture because they are fairly uniform green, and presumably we're not going close enough to actually see the cells / veins in the leaves. If that is the case we only need color, luminance (for SSS) and reflectance channels in our material to get a decent base. But what makes 'hero' ferns tricky specifically is what happens to those leaves as they die - they go brown and crinkly at the edges, and that works its way inwards over time until eventually there are holes everywhere and it all goes brown, curls up and dies off. A realistic scene will have to include some of that on hero plants, and that's why we need UV mapping (unless we do it with vertex maps instead). How good are you at UVs ? I ask because it's way too huge a subject to have to teach in any single forum post ! To go over that step by step for someone who hasn't done it before would require an hour on 2 Skype (which would be a chargeable event I'm afraid, but do PM me if you'd like to do it). The overview looks something like this. Using the clone and distribute methods from the posts above I would go on to complete my hero leaf. I haven't had much time to spend on this, so mine looks a bit rushed and sh*** but it does show the sort of stage you need to get to before you UV (or vertex) map your hero leaves. This is a very much 'non-hero' texture but even that would work for background plants... As you can hopefully see, this is one complete frond made up of 27 instances of the model we made above (the tip is another copy but rotated so it's facing down Z) with a new stem, the displacement happening in world space so it is different across every leaf and 3 large bend deformers added to tweak the general shape and hang of the frond and new stem.. Next step would be to get an editable copy of that combined into a single mesh, but without the bend deformers applied (easier to UV map without them). Then you would Unwrap this single frond onto a single UV canvas, (probably using frontal projection from a top view initially and using overlapping UVs so that you didn't have to texture the reverse sides as well). Once you have UVs you are happy with you can output a PSD with a UV mesh layer to use as a guide, and then move into Photoshop to start making your texture. We actually need to make 5 or 6 different texture maps that all use the same UVs, so that our leaves don't look identical when there's a whole bunch of them. We only need colour maps though, so no need to worry about making bump and specular versions as well, which does save a lot of time. I would make a base layer which is the main leaf colour, and then a series of damage layers over the top, which we could switch in and out to make the various maps you need. When you have your maps, now it's time to head back to Cinema, and duplicate your hero frond as many times as you have texture maps, then make a material for each and assign those, using UV mapping as the mapping type, so it uses the maps you have made. Now you can do what you like with those fronds - clone them, bunch them, deform them, scale and rotate them; whatever you need to do to build a decent plant out of them ! So, as you can see, it's quite an elaborate process for hero plants, and you will of course need to do that for the other hero plants in your scene too. The background ones are a good deal easier - I would do those procedurally with layered noises, and gradients. Hopefully that's some help... CBR
  27. Wow, that playlist is awesome, not sure why I missed it, many thanks, a lot to learn.
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