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Showing content with the highest reputation since 04/19/2019 in all areas

  1. 11 points
    Lots of ways to go about that, but I think this is probably the fastest... 1. Top view, poly pen in Quad Strip Mode, and draw yourself a network of polygons, like so... 2. Extrude that (with caps), and delete the end caps to get your tunnel ends... 3. Smooth Subdivide that to Level 4 or 5, then use a displacer deformer (make it a child of the object), driven by Luka noise to make it look rocky... It might look like a giant pretzel from the outside, but from inside we're approaching something cave-like... Don't forget to select all polys and Reverse your Normals at this point... You can add further displacements (in a group with the SDS Object) at smaller scales, and use that additional SDS to increase polycount much higher. Here I'm at a combined Subdivision to Level 7, and I've got Luka at 600% driving the bigger detail, and Electric Noise, 50%, stretched 500% on V for finer detail.... Lastly, you can handle smaller detail still with normal or bump maps in the material... talking of which, if you are using photo-based textures you want a nice Triplanar mapping setup to texture this properly, but you can do it equally well with just layered procedural noises... Lastly I should mention some techniques for making it look 'big'. These might include... Building in small holes to the tunnel roof to let beams of sunlight in, and using a plane in an Atom Array in front of your sunlight to further break it into godrays.. Adding some Physical Sky, not for its weather, but for its atmospherics haze... Using small area lights, with small illumination falloffs Park the camera very low, and use wide angles Hope that helps... CBR
  2. 8 points
    For the past years I have been working on this solo project during my spare time. It took me way too long, because in between i lost interest, had paid jobs, scrutinized the story, scrutinized the characters, scrutinized my lifechoices etc. But eventually i was compelled to finish this short film because i had invested too much time to just drop this project. So here, I'd like to present you: SUNDAY, a story about a lonely penguin's quest for refreshment on a hot and sunny southpole sunday.
  3. 7 points
    Hi folks :) As you can see we have some new features on the site. First is that the members display at the bottom of forum is showing avatars Second is, we have a direct topic feed with Cafe Youtube videos Hope you like the improvements, there are still some issues we have to iron out but it works!
  4. 7 points
    The other day my pc crashed with several apps open. C4D survived ok, but Photoshop had reverted to OOBE - welcome screen, load of panels I don't use etc. I tweaked PS back to how I like it and that was that. 2 days later I needed an image for C4D, so I opened PS and created a 1000px square doc, only to get an error message 'could not complete operation - disk full'. I looked in explorer and sure enough my SSD was bright red and completely full. I closed everything and ran virus check, and other stuff and the SSD went back to normal. I opened PS - disk full. This went on and on - problem kept appearing, disk full. Didn't Einstein say that repeating the same thing, expecting a different result is a sign of insanity ? On the 10th attempt, I opened PS, made a doc 1000 ... hold on 1000 INCHES ? The PS reset had set the default units to inches, and I was trying to create a doc 7,000 square feet. PS standard res is 300dpi, so pixel-wise I was out by a factor of 10^5. panic over...
  5. 5 points
    And so I get to the 3rd type of ball in my Quidditch set - we've done the Golden Snitch, and the non-magical Quaffle, and now we're on to the 2nd most interesting of them, the Bludgers... These magical cannonballs need to be chained down in the box, because as soon as it's opened they are enchanted to aggressively pursue and attack anyone nearby at the time. (Health and Safety isn't a thing in Harry Potter, where they've got potions that can fix broken bones). Modelling-wise, not the most challenging of forms in the Bludger itself, but interesting working out the mechanisms that hold it down, and I think it will look good in the box with the rest of them. Textures here are first pass, and will probably get improved later by the time I have sculpted some massive dents into it, for now this is just the base mesh and I skipped ahead to first round textures... Unusually for that production, I didn't like the textures they gave these in the films - too orange for my taste, so I'm going back to good old honest gun-metal greys, with slightly more weathering than they did. That last one Physical Render (Adaptive, Automatic, 6%, 3,3,3,0) / GI (IC/QMC): 5 mins 40. CBR
  6. 5 points
    And this is what happens, when you click on "Disclaimer" on my next homepage... Physical render, Marvelous designer for the suit.
  7. 4 points
    One of the best video clips I've seen ....(I guess) period! It's 3D and I found out that it actually was an awarded short film called "Paths of Hate created by "Platige Image" and published by the Polish Film Institute. It was brilliantly edited here to fit Gunship's song, (For all you 80's nostalgic people also listen to Gunship's "Tech Noir", in one of the most entertaining claymations you've ever laid eyes on)
  8. 4 points
    I ended up modeling actual geometry based on the loft (gif example). the c4d file was my initial set up. thanks for your help! cafe sample.c4d
  9. 3 points
    Made a quick demonstration video of the new feature in action. While the feature originated from the demand to have a pixel accurate positioning and sizing option, I figured I could as well implement a full transform tool supporting both UV unit as pixel units (except for scale and rotate, obviously). The new tool is still work in progress, but should be available in a next update.
  10. 3 points
    few more 105_Plain_scale_emission(MG+XP).c4d 106_Emit_and_trace(XP+TP+MG).c4d 107_Rubik_Cube (XP+CA+MG).c4d
  11. 3 points
    well, that was a lot of comments. I'm glad that I have enough beer Fixed some issues while commenting. Random option was not working in picture viewer. Also fixed some other little bugs. Have fun. If any of the coders have any advice regarding the code - I'd be glad to learn some tips and tricks. Spacer.zip
  12. 3 points
    Since last post I was working on a new feature, which I am very excited about. More about that later. It took time to work out a design and required quite some supporting math to get the desired solution. Implementation is now mostly done, just not finalized yet. However, I was recently contacted for a particular request, and have put the feature on the shelf (only for a while) as I assume this new request to be more useful on a long term. Up till now Seamilar's manipulation of UVs (via points, edges, polygons, islands) was mainly focused on using interactive tools. Soon the new numeric transform tool will be available, allowing to manipulate points, edges, polygons and islands via precise values. For this to work the way I intended I had to construct a custom GUI component: ReferencePoint. With this you will be able to move, rotate, scale, position, size items from the four corners of a bounding box, or its center. For rotating, scaling and sizing you will also be able to perform the transformation actions on the whole set of selected items, or on the different islands separately. For moving and positioning you will be able to specify any corner of the UV canvas as origin. And when in Texture Display mode you will have the option to specify the transformation action in UV coordinates, or in pixel values. The icon for this new tool needs some attention, as this one is just a placeholder during the work-in-progress. I am currently finalizing the implementation of this tool. Followed with some more testing days ahead, before releasing an update. (Maybe some porting to pre-R20 version of Seamilar, depending the interest) After the release of the update I'll continue working on the other feature.
  13. 3 points
    Firstly thing - There is no way to directly access and change the value of the dropdown for the render setting within the Batch Renderer with Python AFAIK. Which means that while it's not very efficient your approach is not terrible when dealing with a body of files, don't feel bad about it, if it works then that's more important than if it works efficiently. Now onto ways you could improve your code : For a start I don't see anything in your script accessing the batch renderer to get the file. So that's done first by using the "GetBatchRender" function, e.g. batchRender = c4d.documents.GetBatchRender() count = batchRender.GetElementCount() for i in range(count): fileName = batchRender.GetElement(i) This goes through the whole list, but perhaps you only want to deal with the first (top most, just about to render) document, in which case you wouldn't do the for loop but would just do fileName = batchRender.GetElement(0). Next, you can just load in and save the file more directly than using CallCommand using the c4d.document.LoadDocument(file, flags). myDoc = c4d.documents.LoadDocument(fileName, c4d.SCENEFILTER_PROGRESSALLOWED) if myDoc is None: return At this point you now have an opened document and can see the progress as the file is loaded in. Your next step is to switch out the render data in that document. Just use the code you already have for that, it's fine. You shouldn't need the EventAdd() function calls in there though. The final step is to re-save your document, this time rather than using CallCommand again you can do it directly. With c4d.document.SaveDocument(doc, file, flags, format) result = c4d.documents.SaveDocument(myDoc, fileName, c4d.SAVEDOCUMENTFLAGS_DONTADDTORECENTLIST, c4d.FORMAT_C4DEXPORT) if result is False: return At this point you should be able to start the batch render and be good to go. If you want you can do this programmatically again without having to use CallCommand by accessing the BatchRender object's SetRendering() function i.e. batchRender.SetRendering(c4d.BR_START) should do the job.
  14. 3 points
    I found this... ...
  15. 3 points
    After the gold and fluttery-ness of my Golden Snitch, it seemed only logical to do a Quaffle next - I seem to be doing the set. In fact these Quidditch guys are great for an ongoing personal project in that if you don't have much time you can always just spend a free night doing 1 type of ball, and then come back to it later to add to the set... Still working on textures, but off to a fairly decent start... this one was Physical Render /GI - 3 mins. CBR
  16. 3 points
    All credits go to the Scott Ayers. Attached is a plug-in. After installing, you'll be able to select a folder and all OBJs in the folder will all be imported. batch_importer.pyp
  17. 3 points
    More and more people are going freelance? Why? Well the simple reason is that there are more and more people who want to do the work, but the amount of full time jobs isn’t growing as fast. Also with the amount of different skill sets available, most studio’s don’t need a lot of these people full time. For example I mostly do character rigging these days. Most studios don’t need a character rigger full time. They need one just a couple of times a year perhaps, or maybe even just once ever. So freelancing in general a better distribution of labor. There is a dark side to this trend though which everyone should be aware. A lot of studios hire freelancers because they know that most people are terrible at figuring out what they are worth and can be exploited. pressured and manipulated into doing waay more work for waay less money. Many studios will hire freelancers to avoid paying benefits or giving paid leave. This is my advice to every budding freelancer. Don’t do it unless you have no choice. Freelancing is hard. Finding clients is hard, standing out from every other freelancer is hard. There are 2 real reasons anyone should be a freelancer. The first category is people who can’t get stable employment and simply have no choice, and the second category is people who simply HAVE to be able to manage their own time, their money, their projects etc. Take me for example, I’m a freelancer because i simply have no choice in the matter. There is no way i can go into an office every day. It’s simply not in my DNA. And i also love all the aspects around being a freelancer. As a kid i really enjoyed playing economic sim games, where you get to run your own business. Being a freelancer is pretty much just like that. Except you can’t always just pour more money into something, sometimes you just have to do the work. You have to build your brand, handle advertising and marketing, promote yourself, negotiate prices, manage expenses, plan for catastrophes and a whole bunch of other stuff. So if you are thinking about being a freelancer, think about if you enjoy all this. Or does it stress you the ^%@! out. Because to lots of people it does. And if you just want to make animations or design characters, perhaps you are better off looking for employment where other people who are good at things like marketing and negotiations will take care of those things for you. Because remember there are only so many hours in a day. And you will be competing with people who really love what they do. If you want to go freelance, i always recommend teaming up with someone who complements your skills. So you can pull each other up. Or reach out to someone who is already freelancing and let them know what your special skills are. This leads me to the next topic Special Skills you need to have something that sets you apart. Being a generalist is important and as a freelancer it really helps if you are aware of the entire pipeline around you. BUT when you email someone or talk to someone, you need a hook, you need to be remembered for something. Some little piece of info, so when they are thinking “Damn i need someone to do this” They will instantly think of you. This kind of niche specialization also helps with google searches when people are looking for someone who does what you do. How many people are you competing with in your primary category? Know your competition and pivot so at least somewhere you come up at the top of the list. The last part of this post i want to bring up something very important and that is: “Love what you do” . Because if you are doing something you are not passionate about you will lose. Why? Because you are competing with people who LOVE what they do. Especially in the creative industry. So always think long and hard about how you are presenting yourself and what kind of jobs you are attracting. If you enjoyed this article, make sure to follow me. I got a whole series lined up. Next i’m thinking of writing an article on how to set prices and charge for your work. What do you think? Cheers, Aleksey The post Starting out as a freelancer in the 3D/VFX industry appeared first on Ace5studios. View the full article
  18. 3 points
    Let's have a look at the Mac facts here: 1. Pro res seems like an also-ran. At present. 2. Lack of Nvidia suport with no hope of it in the future. 3. Lack of AMD support for the industry standard GPU renderers 3. Apple dropping support for Open CL and GL 4. Integration just seems non existent with Apple's proprietary Metal, and where it does exist ( like in Premiere ) it seems to make the programs run slower. 5. Apples walled garden just seems to get higher and higher. 6. Where the hell is this Mac Pro Modular, they've been talking about it for years now? All of this and more just means we're at a point ( as OSX users ) where it won't matter if you spend £15K on a full spec bells and whistles OSX machine, it just won't run the renderers needed for C4D work. Apple Pro machines are no longer pro, they're just expensive toys. Enough already. And I say this as a nearly 3 decades Mac user sitting here with a 6 core I7 2018 MBP with a Razer Core X Vega 64 that is basically a dog when it comes to running C4D. It's time to switch to be honest. My next Mac will be a PC.
  19. 2 points
    This quick test is mainly a 2 octave stretched Fire shader, altered so it fills the entire plane, animating slowly (TF=0.1), with an (also animated) electric driven Distort Effect on top. Tiny amount of cyclone in underneath all that. CBR
  20. 2 points
    Yeah I thought about this quite a bit but couldn't see another way either. That's a very helpful set of plugins there, filling a lot of the gaps in our sculpting workflow... CBR
  21. 2 points
    As far as I know there is still no way to do this in C4D natively, which is why I made this plugin: https://www.plugins4d.com/sculpt-projection-brush
  22. 2 points
    Makes me feel all warm and fuzzy inside when @Cerbera asks questions on here! XD I wasn't aware of Animation mode either! I'll have to mess with that.
  23. 2 points
    Octane and Redshift both have announced they will use the RTX cores in a future build. With Octane they say it gives a 2x speed increase over not using RTX cores. This combined with the card normally being 50% faster than the 1080 ti means you will run at 3x the speed of a single 1080 ti when rendering with Octane.
  24. 2 points
    unzip in your plugins folder :) Spacer.zip
  25. 2 points
    You could animate the V-tile parameter of the material - either in the checkerboard or in the Material Tag V-tiling ? Here I went from 1 v-tile to 20 over the course of the wrap growth... I think any flickering is down to the GIF - looks fine in the viewport... CBR
  26. 2 points
    allrighty, last offer at 499.000$ :P
  27. 2 points
    Here is another batch :) 100_Capper(MG).c4d 101_Per_clone_trace_color(MG).c4d 103_Flexing(CA).c4d 104_Simple_Head_Morph_rig(CA+XP).c4d
  28. 2 points
    Here's some C4D Python for noobs - random lottery generator spins the numbers, then sorts + holds lottery.c4d I use this speed control a lot for my gear projects etc arrow.c4d a bit more complex - this wheel on a chessboard rebounds at the edges, keyboard ctrl + alt steers L-R wheel.c4d math for wheel available on request
  29. 2 points
    You could simply keyframe the blink to be closed for 2 frames. The first would render 100% closed and the second would blur into frame 3.
  30. 2 points
    Skip to 12:57:012 for anyone who wants to learn how to print "hello world" ...
  31. 2 points
    @Viznthanks! i'll try that out @Cerberai'm just starting out with this so sorry in case i'm not very organized in where i post and how i post. Figuring out the structure of these boards so thanks for the feedback, it's well noted.
  32. 2 points
    @natevplas I get your sentiment thanks! I've actually just been spending ages trying to use good practice to get models that ok, maybe not 'perfect' but I have learned that doing a cheap, sh*** boole-ridden model causes grief all the way down the line further on. I guess after all that modelling I just wanted to find a quick solution so I can get lighting, then rendering, and hopefuly crank out some nice renders for my folio. I'm definitely gonna do cerbera's method first and see how I get on – he's got a few examples of these kind of devices modeled and rendered in the same way so for me that makes him the go to guy for advice on this technique.
  33. 2 points
    OK, here's part 2 of that... 4. This is the important loop, so I spent an additional 5 mins really making sure it was even all the way round, and as close to circular as I could get it. 5. Now lets better define that circle by adding some SDS control loops. Get the first one by selecting these polys and doing one more tiny inner extrude. Get the other one with the Loop Cut Tool, cutting just inside the outer ring. That will give you this... 6. Now, with Loop Cut still active, add 2 evenly spaced cuts in the center of those selected polys (also tick 'select cuts' in the tool), now Edge Mode, Move tool, and change axis to NORMAL. Move the 2 edge loops out on Z slightly to make the gentle arc you need there. Then, back to poly mode, and holding ctrl, move those polys slightly back inside the model to match the reference, like so. 7. Now just some final control loops to tighten things up further, so inner extrude those polys a small amount 1 more time to get the inner one, and optionally add another with Loop Cut half way up the wall of that extrude you just did. Personally I don't think you need that one, so only add it if you want extra tightness there. And now we can look at that under a Level 3 Subdivision Surface Object, and we should a get a result like this... From here on you can keeps SDS on while you slide loops about, move and scale them subtly until you are entirely happy with the curves and tightness of them. You can see for example, that we need an additional loop near the top of the neck to tighten that back up. Now let's quickly look at the a$$ end of things... What we have there is a horrible complex pole, and SDS struggles with those, as you can see from the underlying SDS mesh above. It's quadrifying it OK, but those are rubbish quads. By adding just 2 more edge loops between the perimeter and the center, and patching in a 3 x 3 plane that has been smooth subdivided to L1, you can get much more pleasing terminations to your circular forms... Lastly, to unhide the internal polys we hid earlier we just go back to Poly Mode and Do unhide all from the Selection Menu. Hopefully that's got you covered, but anything unclear just ask... CBR
  34. 2 points
    OK, let's get this ship moving... Here's the first 3 main stages of what we need to do to model that in properly. 1. Check out this spline, which has no interpolation (ie it is linear) and has precisely the minimum amount of points we need to describe that form AND the circle bit we need within it. We are going to use SDS to do most of the hard work for us, so we only have to wrangle a small amount of points. I went for 24 radial segments in the lathe, which gave me mostly square polys in the area we are most interested in, the curve under the neck. 2. Here's the result of that lathe. REALLY clean geo, and not one polygon more or less than we need. Thanks to our immaculate point planning earlier, we also have a helpful group of 12 polys we can wrangle into a circular form. Here I've hidden in the inner polys for clarity, which is a good idea generally, in that you can't accidentally select any points on the inner wall during the following operations.. As it's only 12 points that need moving you can just do that, or for even less work, you could cut the mesh in half at this point and use symmetry so you only had to move 6 ! But however you're doing it, using the Slide Tool (so we adhere to existing curvature), move these points in the directions shown, to mostly circular form. If you want to be very precise about it you can get an n-side spline from the Primitives Menu with 12 sides, align it roughly to that to the surface, and use it as a visual guide. Or if, like me, you have the HB modelling bundle, you can just run 'Curvature-aware points to circle' which will do it in one move. 3. In the last model on the right there, and below, we have gone back to the polygon selection and inner extruded once to redirect the edge flow nicely around the circular form. Under SDS this looks like this so far... not too shabby, and remarkably little surface distortion because we used the slide tool instead of the regular move tool to shift those points about. In the next post we'll finish that off, and tighten up the overall form, and then we're pretty much done. Hope that helps... CBR
  35. 2 points
    I'm in the process of rewriting my Control4D plugin for R20. It's a free plugin, works with 3D Connexion devices and can record their input in real time. Shoot me a DM and I'll be sure to notify you when my first alpha builds are ready. If you're using R14-19 you can just grab the current version from my site (link in sig). Caveat when working with 3D Connexion devices: The 3D Connexion driver conflicts with input directly through Control4D but you can still use it with the inbuilt Space Mouse features of c4d, just put a Control4D tag on the object you want to animate and activate PSR recording and it will record your realtime animations just the same:) If you want to use your 3D Connexion devices directly with Control4D you have to disable/uninstall the 3D Connexion driver.
  36. 2 points
    Ah excellent - it all makes sense when you think of it as 2 halves of a whole ! :) And well done for not giving up when people like me told you it was probably impossible... CBR
  37. 2 points
    Very nice....excellent detail. Why do I get the impression that Cerbera created that cave in about half the time it took me to read how he did it? ;-) I am sure that when Cerbera is in the zone, it is stream of conscious modeling where he just wills great art into existence. Sits down, plugs in some good tunes and "poof", three hours later he has created the Empire State Building with perfect quads and polygonal flow and wonders quietly where the time went? Dave
  38. 2 points
    Here are some new :) 96_Fly_off_by_3(MG).c4d 97_Fish_school(XP+MG+Dyn).c4d 98_Candles(MG+XP).c4d 99_Radial_colorizer(MG+XP).c4d
  39. 2 points
    Thank you @natevplas and @bentraje ! Using both of these, crucially helpful! Here's a forbidden donut I hope you can enjoy as thanks. It's actually the neurons surrounding a fly's esophagus XD
  40. 2 points
    The best workflow for what you want to do is with Motion clips. Im surprised how my video seems to not get found on youtube, it take you through the whole lot in detail? If you open the details tab on youtube your see the chapter (Motion Clips) show you what you need to know. Just before this chapter your see mixamo basic set up. Dan
  41. 2 points
    @Tesa Demiur if the camera's going round more than once, here's a little seamless looping dodge I use a lot modulo means count up to (but not including) and start over. Dividing this by the constant gives 0-100% repeating (actually 0 >> 1 in XP).
  42. 2 points
    Hi. You need to use motion clips which is C4D Non-Linear Animation system and is designed for doing just what your asking. In order to get one clip to start from the location of the last, you need to use Pivot objects. These objects give the object a unique animatable pivot so you can move the entire animation to start at a different position. To see this workflow I suggest you watch my in-depth video on this subject, your then be making your own short animations in no time. Chapters can be seen on the youtube channel. at 0:44:05 it shows pivot objects in use. Dan
  43. 2 points
    Triplanar is a neat solution if you have the setup already done. If not, or you can't be bothered to make it, then you can make a load of polygon selections, and apply the same material several times to different areas with different mappings. For example your objects above could use cylindrical, cubic and flat projections on certain parts of the model, and that's quicker to setup than either TPM or UVs... CBR
  44. 2 points
    New update new issues. Unfortunately that's the case with the software we use. Some things are simply not in our power.
  45. 2 points
    Hi folks, after a looong waiting for this feature to be bug-free we finally managed to see some progress. So for the future, we now will have T&M system where we are going to get back to old habits and award our members with the corresponding badges for all sorts of things. :) Now for all those who want their old awards back from past challenges please find your stuff in the contest gallery and send me a PM with the links and names of the contests and I will award you with the newest sets of awards. Cheers!
  46. 2 points
    New batch of setups :P 94_Raffale(MG+CA).c4d 93_EKG_rig(MG+XP).c4d 95_Concertina_rig(MG+XP).c4d
  47. 1 point
    This sounds like a bug, so I will report to this to my team. Thanks for reporting and @Cerbera thanks for jumping in as always!
  48. 1 point
    No idea actually. Haven't been able to practice on those fields yet. EDIT: You can make a paperclip in about 50 seconds. Here's how: https://we.tl/t-vphJSnEaOw (link contains a quicktime movie)
  49. 1 point
    Episode 1 - The Diamond Embevelment* 1. Remove the phong tag from your model (initially). You can put it back later, set to a tiny angle threshold when you apply bevels but for now removing it will help you see what your polys are doing when not in a lines mode.... 2. The Diamond form mesh trick, which you can make from any quad-based geo. You'd think you could do it with a torus, but I'd advise against that. Instead do it to a ring of polys from a Cylinder, 2 or 3 polys deep. I'll show you how to do that, but I have to think back to what tool R14 had because the bevel tool, which is crucial to this technique works very differently now. Essentially you just set the ring up with the right sort of segment proportions, and then make it editable, select all the vertices (in Points Mode), and bevel them until they form perfect diamonds. In R16+ there is a limit button that stops you going too far, but you will have to judge that by eye in R14. What is very important, in whatever version you have, is that you remember to Optimize afterwards so that the overlapping vertices get combined correctly. If you did the bevels by eye rather than the hard limit of later versions, then you may want to increase your optimize threshold to make sure you get ALL the points welded. Ideally you would have Selected Point Count visible in the HUD so that you could watch the point count drop as you applied this, and would therefore know it had worked. The trick to this method is choosing the right density of initial quads to give you the diamond pattern you need. let this image below be a general guide as to how that works... Next you will need to arc this section to match the reference, and I think this is best done with an FFD deformer, which you should then apply (via CStO) when happy before continuing the modellings... Now, there are other parts of your mesh that are not diamond form, and they should remain perfect quads as usual. If you select a loop of edges above or below the diamonds and extrude, that will turn the new polys back into regular quads and you can continue modelling from there, but it will leave a fatal row of triangles that shouldn't be there (for both technical modelling reasons, and because they are not in the reference) but we'll deal with those later. The latter part of the general modelling process, once you have the entire form, will be applying a final bevel to chamfer the edges of all the diamonds and the overall form. SDS is optional here, but you'll need (albeit different types of) bevels either way. CBR * look it up - it's a perfectly cromulent word.
  50. 1 point
    Here is a visualizer for fields remapping tab :) Remapping_visualizer.c4d



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