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  2. hey guys, I have set up this scene which has 2 texts: one green text with displacement map working as a support one red text laying on top of it I added hair to the displaced green material (which was made as a Sweep), i don't want the hair to come through the red text but rather to wrap itself around it. I watched a tutorial and it says to use the "Hair Collider" tag on the red text but it doesn't seem to be working. I even used "Current State to Object" and still the Hair Collider didn't work Any thoughts? how can i make this work? Thanks!
  3. Hi everyone. Simple one today: The Specific Goal: Two gears, one with 39 teeth, another with 28, rotate 360 degrees in 60 frames and set "Track after," to "continue." So it loops forever. The Challenge: Using whole numbers, this is not possible. The question: Can frames be subdivided down several decimal places? I realize there are other options such as: Xpresso Putting the second keyframe far off (say at frame 1092 by multiplying 39 x 28). Dynamics But I am simply curious if I can divide up key-frames smaller than the whole of their parts. I must be using the wrong terms in my search results and I've come up empty. Thanks all. I will be back Monday to follow up. PS: My Broader Goal: If I can unlink key-frames from their nearest whole number, I can accurately stretch and compress a series of key-frames on location sensitive items (like gears), but keep their proportions 100% accurate.
  4. Today
  5. He could try to use volumes to push the skull into a copy of the plane, make it editable, then use the sculpting projection tool to project that into the original plane into a pose morph as you suggested, that way he won't need to sculpt a skull. Dan
  6. Was wondering if anyone on here has experience with motion clips in C4D. I have a motion clip that I have adjusted some of key frames. When I add some loops to the motion clip, the adjusted key frame don't loop with it. Any ideas on how to fix this? Thanks in advance!
  7. Would sculpting the skull on the flat surface work? Maybe the sculpt detail/height could be animated with a pose morph. The documentation says you can use sculpt brushes with the pose morph tag, but I haven't tried it. EDIT: In the documentation, under Sculpt Layer Manager/ Tools Menu It mentions the Sculpt to Pose Morph command. My understanding is that you can store different sculpt states as individual Pose Morphs states and animate between them. So this may be an approach worth trying, as it should give you the level detail you're looking for.
  8. Hi the normal workflow is with caching, because otherwise you don't have the simulation available when you decide to render only a part of the timeline and you can much better judge how good the sim works when you can play it in the timeline. Once an active mesher object is in the scene, "cache simulation" will cache both. But you can decide to re-cache the mesh only, if you make changes to the parameter of the mesh without changing the previously chached particle sim.
  9. I also tried the collision deformer and like Cerbera can't get high enough quality to what the OP is asking. Vector displacements would work if C4D supported it, but that depends on how the animation was to go as if the face rolls against the surface or just pushes out. I tried with volumes, that did let me get the quality with a low voxel size. Dan
  10. I also thought the Collision Deformer would be the way to go here, and spent a fair amount of time playing with falloffs to try and get closer to OP's first ref pic. But we really do need a ludicrous level of polygon density in the collider plane to achieve enough level of detail in the impression of the model we're pushing through (meaning it is VERY slow to update changes), and I was unable to get any falloffs to look like realistically stretched cloth that way. I didn't get a great result with smoothing deformers and a vertex map in the stiffness field either, and we would have to find a way to make that vertex map change based on which parts of the animated skull was touching it, which I'm sure is possible, but isn't something I have tried before... And then I remembered the Tension tag. I haven't tried this yet, but that would certainly be one way of getting wrinkles in the right places... you could use that with a material or a displacer deformer to do displacement of your collided mesh, which might give you the sort of clothy stretching you're looking for, although I guess this will depend on you driving the displacement with the right sort map, and like you, I am not sure what that would look like - presumably that would also have to change based on which parts of the skull were in contact with the sheet, so we might have to get a proximal shader involved as well... It is an interesting problem - I look forward to reading everyone else's thoughts on it.. CBR
  11. HI, This was created with the collision modifier:
  12. Hi all, Im a newbie to using realflow and just looking for some beginner tips regarding the export process. Should i be caching the scene before exporting? I have GI applied to the scene, and a showerhead spraying water. Looks like the render will take approx 4 hours without caching (on a good but old pc laptop), should i 'Cache Simulation' or 'Cache Meshes' or both? I have tried caching before but strangely it has offset the position of the mesh upon rendering. Any advice would be great thanks :)
  13. Will be watching on c4dlive too. Really looking forward to it.
  14. Photographic professionals will probably tell you not, which may or may not have to do with whether they are selling HDRI and backplate sets... For the rest of us you can just open the .hdr directly in photoshop CC, set the exposure, and zoom / crop in on a part of the full HDR image. But removing the perspective distortion can be more of a challenge. You need the exif data from the camera that took the HDR ideally, but if you have that you can use PS's lens correction to sort it out. CBR
  15. I have this strange situation and I can't figure what is going on... I had a Turbulence FD simulation on top of some dynamics (building destroyed by an explosion). But, when I try to render the whole animation (all frames) the Turbulence FD simulation is not rendering (and I do have Turbulence FD activated in the render). All the rest is rendering, including the dynamics. When I try to render using Current Frame setting in the render it does render! Why?? I am using the Physical Render in Cinema 4D R19. Below is the frame rendered using Current Frame setting in the render (you see the smoke and fire from the explosion simulated with TFD). Using All Frames renders everything except the explosion Turbulence FD simulation. Never happened this to me, because in the past I did other kind of simulations (fire, explosions, smoke) and it rendered all the animation. Did I forget a setting or something? In the Rendering tab of the container I did choose Density as smoke shader and Temperature for fire shader. UPDATE I found out what the problem is. If the TFD container is not enabled by default, from frame 0, (only enabled later) then rendering using All Frames won't render the content of the container. I didn't have it enabled from the start, only later when the smoke/fire started (thought I would save some headaches for my computer...instead I got the headache!).
  16. Of course we might be overthinking this... If your plan is to eventually use a rocky sort of texture, then you don't need any seams at all, and can just do a top-down frontal projection of all polys at once followed by an ABF relax with Pin Border Polys off, and you'll get a highly usable result something like this one... not really that much distortion anywhere in particular which may very well be good enough. The advantage of a no-seams approach is that you can view the object from any angle and there are no seams to show up anywhere ! But the disadvantage is that we might expect some texture stretching, certainly more than had we used some seams and multiprojections. No seams.c4d Just load any rock texture you like into the material's colour channel and you can test this yourself in the above file... CBR
  17. Yesterday
  18. Igor

    SIGGRAPH 2019?

    Stay tuned and find out soon! ;)
  19. hi everyone, I am trying to reproduce the effect of the first image. I try it with the volume builder,(second image) but I have problems getting wrinkles and stretching. I cannot do it( I assume) with the collider deformer because the client wants many details on the face of the skull. could someone guide me on how to get the desired effect? maybe adding a stiffness map to the smoothing deformer? but I don't know how to. thanks in advance for the help. something like the third image... I don't know! ( I have to animate the skull, so I can just model the wrinkles, and cloth simulation don't give me good details )
  20. Hi everyone. Does anyone know if it is possible to get a backplate from a HDRI image? Thanks.
  21. Yep, you can ask questions here, hopefully i will see them if I am around, but there are lots of people here who can answer them so no need to wait for me specifically... I did a fairly arbitrary seam placement just to show you the general principle of choosing seams and UV unwrapping - but because I am unaware of where your final camera will be, and what angle you are looking at this object from I can't really decide where to place the seams to optimal effect until I do know that... So, to avoid the distorted 7 in the shot above we just need more seams and more projections than the 2 I did originally. Here's one with another seam added, and the UV split into 3 islands. I also fixed the degenerated polys on the mesh that were preventing a UV relax by optimizing it in Points mode. So now we avoid distortion in that area, but we do have an additional seam that may be visible to camera depending on where that is parked... so seam choice should be at least partially depending on the angle you are viewing it from. Does that make sense ? Here's the scene file for that ( don't forget to relink the texture!)... rock front sample 2.c4d CBR
  22. Forgot to ask, how do I fix the warping at the right end of the object? I've included a screen grab of the area.
  23. Thank you soooooo much! I am sorry it took me so long to read your reply. I owe you man! Would be okay if I ask you questions regarding UV mapping via this post, if I needed to? I'll to my best to figure it out before bothering you. I like to make my own way... but from time to time you have to ask for directions you know?
  24. @jed Engineers using C4D around the world thank you. This is also just cool motion to watch.
  25. Another fix here would be to first split off the problem splines. Then run Create Outline on that to get them to resemble the rest of the text (will create closed splines), and fix the ends to be rounded. It's a really skinny text/font, and your sweep is overlapping itself, which might pose a problem down the line, but maybe that's okay for what you want.
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