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  2. Igor

    After Effects

    Create without limits with After Effects. Create movie titles, introductions, and transitions. Remove an object from a plan. Animate a logo or a character. Make the rain and the good weather. With After Effects, the benchmark animation and special effects app , you can get ideas moving. Unroll your credits. Spin the words and animate the headlines. Give movement to all your titles, credits and lower thirds. Start from a blank page or use one of the predefined parameters proposed in the application. By rotation, scanning or sliding, your text comes to life. Visual effects that will amaze you. Combine images and videos to bring all your ideas to life. Choose surprising effects from hundreds of options, delete unwanted objects or subjects, and create videos optimized for virtual reality to put your audience at the heart of the action. Capture attention. Put all your objects in motion with keyframes and expressions. Or use presets to quickly get impressive results. Make room for fluidity when working with Adobe applications. Create your compositions in Premiere Pro and use Dynamic Link to eliminate intermediate rendering between applications. Import your projects directly from Photoshop, Illustrator, Character Animator, Adobe XD and Animate. Use the Team Projects feature to collaborate with the fitters, and enjoy compatibility with more than 300 applications and partners.
  3. Igor

    Fusion 16

    The world’s most advanced visual effects, 3D, VR and motion graphics solution! Fusion is the world’s most advanced compositing software for visual effects artists, broadcast and motion graphic designers, and 3D animators. Over the last 30 years, Fusion has been used on thousands of Hollywood blockbuster movies and television shows. Fusion features a powerful node based interface that lets you quickly and easily create sophisticated effects by connecting different types of image processing tools together! You get a massive range of tools, incredible VR and 3D support, GPU accelerated performance, unlimited network rendering and more! Fusion gives you everything you need to create exciting broadcast graphics, dramatic titles, and even major feature film visual effects! What’s New in Fusion 16 Fusion Studio 16 is a major upgrade that brings all of the improvements made to Fusion inside of DaVinci Resolve to the stand alone version of Fusion. You get an updated and more modern user interface, along with dramatically faster performance. All 3D operations are GPU accelerated, making Fusion much more responsive and interactive. In addition, there are dozens of GPU accelerated tools such as time effects, dissolves, stereo tools, vector motion, corner pinning, color tools and more! B-spline and bitmap mask operations are accelerated, as are the planar and camera trackers. Improved memory management makes large compositions with high tool counts more reliable, making Fusion 16 dramatically faster and more stable than ever before! VISIT WEBSITE
  4. Today
  5. OK, I've tried a slightly differnet approach. Disks and spline are in two seprarate clone objects. The Disks use a Rail spline to set the their rotation. The cloners both set to Object Mode and clone onto two seprate Cirlce splines. Some Xpresso sets up the rest. Scene file is attached. Flower_0002.c4d
  6. Igor

    Quixel Mixer

    3D TEXTURING REINVENTED Mixer presents a revolutionary approach to asset texturing. Texture your custom assets with multi-channel 3D painting, scan data, real-time 3D curvature, displacement sculpting, ID masking, procedural noises, seamless texture projection, Smart Materials and much more. CREATE ANY SURFACE IMAGINABLE With painting, sculpting, blending and procedural masking, Mixer gives you an all-in-one solution to create seamless surfaces of any kind in no time, with total control and art direction. Don’t waste your time on overly complicated texturing workflows—get results faster with Mixer. MEGASCANS SMART MATERIALS Mixer’s free Smart Materials adapt realistically to your 3D assets, with photoreal material definition, dirt accumulation, wear & tear. The secret is combining dynamic real-time curvature and customizable procedural masking with the power of the ever-growing Megascans library. TAKE CREATIVE OWNERSHIP With Mixer in your hands, every Megascans or custom asset becomes dynamic and seamlessly adapts to your preferred art direction, biome or unique style. The creative potential is staggering and changes how we perceive scan data as artists, as any asset can now be infinitely adapted to any style or environment extremely quickly. COMPLETE MEGASCANS INTEGRATION Instantly access the entire Megascans library straight within Mixer. Leverage Megascans to guarantee photorealistic base textures or transform them into fantastic stylized assets effortlessly. Mixer and Megascans together give you virtually limitless creative possibilities. ZERO LEARNING CURVE Built around simplicity, Mixer is designed to be intuitive and extremely fast for everyone who just wants to make art. Create stunning mixes in minutes, or texture advanced assets with incredible control—whether you are in a hurry or want to dive deep, Mixer has got you covered. FREE FOREVER, FOR EVERYONE Mixer is a complete and constantly evolving 3D texturing solution, extremely easy to use, and free forever, for everyone. But that’s not all: Unreal Engine users now have unlimited access to the entire Megascans library for free right within Mixer. The creative revolution is here! VISIT WEBSITE
  7. Inspiring, intelligent tools and content to create and apply materials for 3D. Paint in 3D in Substance Painter. Create material libraries for 3D in Substance Alchemist. Design materials with precision in Substance Designer. AN INDUSTRY STANDARD The Substance format works with many tools of your 3D creation workflow. Our team develops and maintains integrations with all the major 3D apps. And the Substance format is an industry standard, readable and useable in every tool dedicated to 3D. SUBSTANCE PAINTER All the tools you need to texture your 3D assets in one application. Substance Painter has smart materials, smart masks and integrated bakers, and a state of the art real-time viewport. SUBSTANCE DESIGNER The industry standard for creating custom materials, Substance Designer gives you complete authoring control. Design tileable textures and patterns, and edit complete texture sets. Use pre-made resources or create materials from scratch in this non-destructive, node-based environment, and take advantage of Designer’s ever-expanding scripting capabilities. SUBSTANCE ALCHEMIST Create collections of materials by combining and tweaking existing resources, or by building new materials from photos and high-res scans. Craft a specific catalog of materials from real-world references, or simply experiment until you find results you love – in all cases, Alchemist brings phenomenal speed and ease of use to your workflow. SUBSTANCE SOURCE Thousands of customizable materials created by specialists and world-class guest artists. Modifiable parameters permit infinite variation. Materials that are compatible with all major digital content creation apps and game engines.
  8. Igor

    Mari

    Mari Mari® is 3D painting without limits, combining the power and performance to handle even the most complex assets with artist-friendly 3D paint tools that make the most of your creativity.
  9. Igor

    3D Coat

    3DCoat is the one application that has all the tools you need to take your 3D idea from a block of digital clay all the way to a production ready, fully textured organic or hard surface model.
  10. Marvelous Designer 9.5
  11. Igor

    ZBrush

    ZBrush 2020 ZBrush 2020 empowers artists with greater sculpting flexibility via powerful additions to the award winning brush system. We have expanded the library of sculpting brushes with the new XTractor, HistoryRecall and DecoCurve brushes. In addition, you can now constrain your brush strokes to only forward gestures with the new No Back&Forth modifier. Beyond the new brushes we've expanded the capabilities of the MorphUV feature, which makes it possible to view the unwrapped UV layout of a model within ZBrush. Sculpt & Paint in Morph UV allows you to sculpt and paint on the 2D unwrap of a model, applying all updates to the 3D model. Sculpt & Paint in Morph UV Now with the ability to sculpt and PolyPaint on the UV unwrap of a model, it's never been easier to apply long continuous strokes across a mesh. One such example would be applying a stroke from the waist up through an armpit to the wrist of a character. Or perhaps you wish to apply a pattern on a mesh that is too complicated in the 3D form. Have you ever had a difficult time reaching certain areas of a sculpt? With Sculpt & Paint in Morph UV, that is a thing of the past! XTractor Brushes These three brushes convert detail from your model into a new alpha or texture for future reuse. Simply drag your stroke across the surface of any model to capture the details of your sculpt. The captured details can then be used elsewhere on the same model, or on any other model in the future. HistoryRecall Have you ever wished you could undo just a portion of your sculpting without losing everything else that has been done on the model? Now you can! This brush uses your model's Undo History but restricts the effect to the area where the brush is used. It can also be used in the other direction, projecting Redo History from part of one model to another regardless of any topology differences. Move Infinite Depth Alter your brush to apply details to anything that is directly inline with the brush cursor. For example, add volume to the front and hind legs of a dog or move several vertex points on multiple individual meshes without applying a mask. The infinite depth option can be applied to several brushes. You Can't Pick Just One Color Never again will you struggle contemplating what color combination to apply to a model. Now you can take any PolyPainted or textured model and adjust its color hue, intensity, contrast, gamma or tint on the fly using the new Texture Adjust by Color and PolyPaint Adjust by Color features. Texture Adjust by Color & PolyPaint Adjust by Color Texture Adjust by Color & PolyPaint Adjust by Color not only gives you the power to adjust the colors in a model's PolyPaint or Texture Map, it also allows you to restrict these adjustments to specific color selections. In addition you can use color picking to mask or unmask portions of the model. Ready, Set, Analyze & Print ZBrush 2020 continues to widen your ability to 3D print straight from ZBrush with new mesh analysis features: Wall Thickness, Real-Time Draft Analysis and Surface Area calculations. Now anyone will be able to easily prepare a model for production! Wall Thickness With this feature ZBrush uses PolyPaint to provide a visual representation of what portions of a mesh could benefit from additional thickness before sending off for use with a 3D printer, CNC machine or any other rapid prototyping method. Set your preferred minimum thickness and maximum thickness, then click the button. Now use the color coded data to make any adjustments, then click again to re-evaluate with those changes. It's as simple as that. Real-Time Draft Analysis ZBrush Artist :: John Brown The new From Draft & Real-Time From Draft options give you a fluid approach to preparing models for many specialized manufacturing options such as two-part molding or CNC printing. Use the camera plane to set your draft pull direction, then make real-time adjustments to your model to ensure a successful production pipeline. The real-time draft analysis can even be applied as PolyPaint or a mask for additional options including saving the result as a texture map. Calculate Surface Area No matter how the model will eventually be used, finding its Surface Area and Volume has never been easier. With a click of a button ZBrush can now provide you with the bounding box size, mesh volume and surface area. At the same time, it will check for watertight integrity. All of this will not only help ensure a successful print but can also assist you in accurately estimating the amount of real-world material that your project will need. Cam Silhouette & Cam View CamView With the new CamView feature you will always know the orientation of your model relative to the world axis, providing an accurate understanding of your XYZ space and offering an interchangeable one-click navigation view. Switch from front to back or left to right views of any model by just clicking on icons within the CamView. You can even load any model to create your own unique custom CamView and then share it with other users. Real-Time Silhouette View Sometimes you just need to look at your model from a fresh perspective, making sure that it works on a foundational level. With the new Real-Time Silhouette view you'll be able to evaluate the overall shape of the model in a small window while still being able to see the same model with fully painted and sculpted details in the main document space. This can give you the freedom to explore new shapes or ensure that the model will read well from a distance. ZeeZoo A good pose is the essence of a great composition. Rhythm, gesture, weight and balance are all key to any work of art. Mannequins are essentially ZSphere armatures. The way that you interact with them allows for easy posing, so that you can more easily explore your ideas – faster. The ZSphere Mannequins can readily be edited to fit any character or creature you need. Create an entire scene in just a few clicks! In no time, you'll have established perfect visual harmony and be on your way to sculpting a masterpiece. Use the Mannequin sample projects or Zoo Animals included with ZBrush 2020 to find just the perfect pose for single or multi-character models. VISIT WEBSITE
  12. Great setup and very welcom to slice up my dinner plate even more intrictate. Thank you. Philip
  13. Hi, you can either select all keys in your dopesheet and just drag them out to be twice as long, but the more intuitive way would probably be to make a motion clip from your skeleton/ character rig (under animate> add motion clip) and then stretch the clip in the timeline to be twice as long. This also allows you to cut your clip and only have some parts of the animation be timewarped. Or you could slowly fade into the timewarp by using the time curve within the motion clip's attributes In case you have access to Cineversity there is a Mixamo motion clip workflow tutorial there that covers exactly that Oh and another way would be to add a time track to your F-Curves and manipulate that. It basically is a curve that retimes your whole animation without having to shift keys around in time
  14. The thing is, there is one section of Cafe that replaces that plugin in full and gives you even more control and overview of what is happening at Cafe. Now, I understand that the way it was its a bit more convenient but somehow it simply doesn't fit. I will try to find a solution for that, until then let's be a bit patient.
  15. Hello everyone. sorry for the long post. I need some general tips about 2d/3d workflow. we are working on a project now and we have decided to create all the background and objects in C4D and all the characters in Moho. the main issue is compositing them. our characters don't have any interactions with the environment and its objects. they are just there and just walking around. should we simply render our C4D scene and then composite the characters and their animations using AfterEffects? or we should somehow import our characters to C4D and finish everything there? like what this guy did: https://www.facebook.com/groups/mohocharacteranimators/permalink/1127998717544752/ I know it depends on whether we want our character to interact with the 3D scene or not. but if you could write your general ideas and opinions and 2D/3D animations, that would be great. also the other question, there are lots of tutorials on the internet where people render a photo and then paint it inside Photoshop to make it look better. but I never saw anyone do that on a rendered animation. they all work on a single frame. any workflow for painting over those many frames? something that is not requires painting thousand of frames to finish the job? Thanks
  16. Are you dropping the "latest comments" section ? that kind of goes hand in hand with the questions for me. I would have that with even more comments than before. I do appreciate all the work tho, ya cant please all the people all the time. Deck
  17. So ... Yes, by now you might have realized I have reconsidered, and didn't stop development. Kind of. I still stand behind my first thoughts about R21. The only difference is that, since I was under automatic renewal of MSA (without realizing it) I was legally obliged to purchase the final MSA. That's what I did, and as a result I was able to update my plugins to "work" with R21. Why the quotes around works? Well, in my opinion, ... and that should be clear to all ... MY opinion. So, in my opinion this R21 release is just (*). How frustrating it has been to get some of the plugins to function on R21 as reliably as they were on previous versions. Sure ... bugs have been fixed, present in R20 and before. Sure ... new features have been added. But the whole new licensing scheme experience, and on top of that a completely new GUI. Come on, it's common sense that this would provide for quite some issues. And indeed! I have had numerous communications with the SDK support team. Great guys, by the way !!! Really! No sarcasm intended. Hats off to those guys who try to help whenever needed. Unfortunately, they are not able to help when the problems are deep inside the application itself. Even more unfortunate is that while the issues are confirmed to be bugs, a next update doesn't provide for a fix. Seeing we're kind of at the end of the R21 life-cycle I have no high hopes to see this fixed ... unless in R22 or later. Don't even get me started on S22 ... As I am personally not using R21, would I still develop plugins for R21? I am developing for R20 and previous versions. If it doesn't take much time and frustration to port to R21, I will. Else ... There you have it. In my opinion R21 was and still is (*). I am done venting. (*) funnily enough the forum software does not allow to use this word. It is spelled with a "c", an "r", then "a", and finally "p".
  18. C4DS

    PolyDup

    PolyDup v1.0 is done. Documentation finalized, implementation ported to R16 - R21, both on Windows and macOS. Plugin banner created and website updated (see first post).
  19. I have complete character animation, but want to time wrap it in 2X. Do you know a way how to do it?
  20. Hello all, I’ve been playing around with X-Particles and Redshift. Both are brand new to me, but I’m getting the hang of it. I have two questions concerning Redshift with X-Particles. 1) I know that Redshift has an optimized sphere mode, and the optimized sphere size does in fact match the radius of the particles that’s defined in the Emitter (if not, its really close). However, when you place an custom object using the Redshift Tag, I have to fiddle with the radius size of the object, and I have to sort of tweak it by eye so the custom mesh can match the size of the Emitter’s particle radius as best as I can. My question is, is the manual scaling of the custom mesh the norm, or is there a easier way of doing it? 2) In the Redshift Manual, it states I can use a Particle Material to use the particle color defined in the Emitter as the color source. That part works. In another example that was displayed, they used the Color User Data to define the grayscale, attached that to a Ramp, and used the Ramp to change the colors. The problem with that example is, when using the Color User Data, there is no grayscale value, its one definied color, so in this example, where did the the gradient come from? I attached the example they used to this thread. Thank you for taking the time to read this, any information will be greatly appreciated. Best, Budda
  21. What was the solution? I am running into the same issue
  22. @BigAl3D @imashination @briankoko @DasFrodo @Isleofgough @VoytechThanks so much for your helps guys!) Yeah I clicked the last few files where it appears to have a white nackground and it appears to be working well in after effects. My bad I should've clicked the right photo earlier. So thanks so much guys!))) I really appreciate your helps.
  23. Yesterday
  24. Hello, I think that you should put "blend color" in the shader color with value to 100, not 0.
  25. I found this information here on the forums. I'm playing with that and also doing several different lights with several different noise patterns and animation speeds.
  26. Noise velocity and animate the noise wind
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