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  2. It is what is installed on PC at the job I have just started. I don't get to choose the tools unfortunately.
  3. OK, so I've been trying some different techniques, thanks to your tips. For off, I tweaked some of the reflection settings and added a light behind the camera to add more depth to the scene. I think it really helped: However, when I tried ion's advice about removing AO, the results were...not so great. IMO, it looks very fake and CG. But, just to get your input, here is what THAT looks like:
  4. Hi, Turn off The ambient occlusion too, that always adds a fake look to the scene . It's the boole of lighting! Absolute rubbish for realism.
  5. Today
  6. I have actually been looking for a good way to add scratches/dust to the bricks in this model, but I haven't been able to find a technique that really works. The problem of course is that there are well over 1000 pieces in the model, and if I were to just apply a bump map to the texture I am applying to the grey elements, all the bricks would have the exact same scratches and a tile effect would ensue (NOT what I want :p). If you know of a way to adding unique weathering/scratches to the bricks where it is randomized from brick to brick, please let me know! This has certainly been something I have been trying to crack for a while.
  7. Where did you get R17 from ? That hasn't been commercially available for 3 years. CBR
  8. If we're in space, then the should be massive sun somewhere right ? The stars won't help much but the sun could, so I'd make sure it was somewhere behind the camera so that you see it in reflections to best effect. What is also working against you is lego being largely flat surfaces, so the opportunities for seeing those refs is limited to the round bits unless you can set angles that put the sun or other luminants within the reflection view of the large flat areas. The other thing that is detracting from realism is the perfection in everything. Even if we imagine that this lego did actually get to space somehow without disintegrating, it would surely be covered in a liberal layer of exhaust detritus / dust and general filth that is entirely absent from the image so far, but would that compromise the look you are going for ? Additionally I'm not sure that 'all the greys' are the colours that instantly make people think of lego, so you may be losing a bit of psychological reinforcement there too, although of course I accept that if it has to be grey, it has to be grey... CBR
  9. Good points. I SHOULD mention that the background HDRI is currently actually a high-contrast star-field, as this is actually the top of a space ship, and the background is later replaced with a moving star-field in post. I suppose I COULD use a different HDRI for the model, but I don't know if it would adequately represent the environment it is in. Here is what it looks like currently after GI is turned off, the reflections up to 30%, and the HDRI's contrast is boosted a bit: Please continue to send tips!
  10. Hello, New user here with version R17. I am trying to create a TV studio image to use in a green screen video scenario. My final video output will consists of a TV studio with highly reflective surfaces , a human presenter behind a podium\desk. In a separate video editing application, I will have a background layer which is the TV studio, the green screen layer for the presenter and then the foreground layer would be the desk for the presenter to stand behind. When I have the TV studio and desk in the same image, then I cannot put the presenter behind the desk as it is a flat layer. If I have the TV studio as the background layer, and a separate image file for the desk, then the desk cast no shadows or reflections on the TV studio. What I want to do is have the background TV studio image, with the desk casting shadows and reflections, however I want the actual desk to be invisible. Then in the video software I can place the presenter in front of the TV studio and then place the desk image in front of the presenter, and the desk will have shows and reflections in the background layer. I do accept that the presenter will not have a reflection or shadow, but in this scene is does not matter. Can anyone help?
  11. Hair is never going to wrap around anything I'm afraid, unless you use custom splines as hair guides that you have wrapped around stuff to control it. The collider functions will at most push it out of the way, not make it wrap round stuff. You may be able to fake the effect using colliders and then the curl or other function of the hair material to give the general impression of it curling over the top, but you won't actually get one lot to wrap itself around the other without those custom splines... CBR
  12. Lego is quite shiny as I recall, so the first thing I'd check is that you are using a high contrast HDRI applied to a sky object to get those sort of realistic reflections picked up by the objects in your scene... then I think your reflection level of 15% is a bit low - I'd be aiming more for the high 30s I reckon. Unless you have a specific reason for using it, I would turn GI off as well - that can often add a 'softness' to scenes that won't necessarily add to realism here. CBR
  13. Skateboarding.zip Just uploaded it. Sorry about the zip format, I could't figure out how get the file size under the 4.93MB limit. In this project the motion clip is looped 2 times. I altered the right foot so that it touches the ground. For the two loops after the key frames don't loop. Is there a way to loop the keyframes with the looped motion clip? Thank you in advance!
  14. So, you want infinite animation of two gears? Why not simply use Xpresso or Cmotion? :)
  15. Hard to help without a scene file...
  16. I wonder if you could set up the scene with the skull face and hand as desired, then render a depth map to use as displacement on the plane but before that take it into pshop and kind of paint / blend in the blanket areas. May even be something you could do in a layer shader. Not something Ive tried, just a thought. Deck
  17. to use the hair collider you would have to push the red text into the green, taking advantage of its dynamic properties, so animate into the hair. Or the other way around obviously, moving green into red. Deck
  18. Hello all C4D gurus! I am in a bit of a knowledge pickle with regards to some texturing and lighting I am trying to work on, and I was hoping you all could help me. I was trying to decide if this topic best fit in textures or rendering, but I figured I'd try my luck here first. The project I'm working on in question is to render a model I am animating in a realistic style that looks very close to how LEGO really looks. I have tried many different techniques over the last few weeks, but nothing has quite nailed down the photo-realistic look I am going for. Here is an image of where I am at currently: In order to better help you all out, here is a description of my current tech/render/texture setup and specs: C4D Version: R13.061 (old, I know, but can't afford to upgrade) Plastic Texture Settings Example (used by grey plastic that composes 99% of the model): Color - Standard w/ slight fresnel gradient from light grey to lighter grey & mix-mode multiply Diffusion - Noise texture, mix mode normal, mix strength 15% Reflection - Brightness 15%, Fresnel texture w/ physical turned on, mix strength 20%, blurriness 5% Specular - Mode plastic, Width 30%, Height 45%, Falloff 4%, Inner Width 0% Render Settings: Renderer - Physical Sampler - Adaptive Sampling Quality - Custom Sampling Subdivisions - 4 Shading Subdivisions (Min) - 2 Shading Subdivisions (Max) - 5 Shading Error Threshold - 5% Ambient Occlusion Global Illumination I am MORE than happy to share my other settings/scene details with anyone as well, just ask away! The scene is lit by a circular light array (sort of light a light-box), with one or two brighter directional lights to make the plastic look more realistic. Any help would be VERY much appreciated! Thanks in advance! - John
  19. 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!
  20. 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.
  21. 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
  22. 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!
  23. 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.
  24. 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.
  25. 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
  26. 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
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