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Showing content with the highest reputation since 04/27/2019 in all areas

  1. 10 points
    whats up guys, so gonna be putting up some free models over the next few weeks, some older ones and some more recent ones, most of these are characters i've either never used or have recently updated, going to take me awhile to clean up and sort through them, but i'll post up some new ones when i can. Hammy cute little cartoon hamster! hammy.c4d Donut Derick fun little character i made a while ago after watching sausage party :D derick donut.c4d Rory the Robin one of my oldest but still one of my favourite toon characters :D rory final 2.c4d Big Ugly Baby its a big ugly baby.. baby final.c4d Brain dead Banana This is what happens when you eat a bananas head! be warned! also comes with my plastic toy shaders ! Brain dead banana final.c4d Fat Brian Another really old model, i put quite a lot of time and detail into this one at the time, and he still holds up 3 years later fat Brian final.c4d watch display.psd
  2. 10 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. 9 points
    My beautiful wife works as a social worker at the juvenile court, and she uses the signs of safety-tool: the three houses. These three houses are a great way to talk to children about the good things in their lives, their worries and the dreams they have for the future. She made an example sketch for me, so I had a very good idea of what she wanted. I made a new sketch (below) because she really likes the old skool pencil-on-paper style. I thought it would be cool to make a 3d version of the house, so here it is!
  4. 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!
  5. 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...
  6. 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
  7. 5 points
    And this is what happens, when you click on "Disclaimer" on my next homepage... Physical render, Marvelous designer for the suit.
  8. 4 points
    Just checking everyone has seen this, a brilliantly comprehensive guide to the entire photogrammetry workflow in Cinema from C4D Grandmaesters Chris Schmidt and Aaron Coverett. Includes a properly genius technique for transferring the UVs and textures of a horrendous model onto a really good one ! https://youtu.be/VRfytVKkNQw Then feel free to pop over to Patreon, and help pay Chris's doubtless massive electricity bills in gratitude for this, and his regular Wednesday wisdom Rocket lasso live streams, which continue to be similarly excellent ! :) CBR
  9. 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)
  10. 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
  11. 4 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
  12. 3 points
    Hi folks :) As many of you already know, Cafe has a Youtube channel with large video collection of tutorials. Please post your tutorial requests into this topic, all ideas are welcome. To increase the likelihood of your proposition being accepted and turned into tutorial, try to be as precise as possible and look for subjects that would benefit wide variety of user. This of course doesn't mean you shouldn't suggest something that is based on your individual needs. Thanks!
  13. 3 points
    Hey, guys! Just sharing a personal project I've been working on. Rendered in Redshift.
  14. 3 points
    Hello guys! My pretty useful free ArcSplineRig XPresso preset was updated and now supports Cinema 4D R20, works faster and do not contains any python or coffee nodes! Check it out here, hope you like it! https://mikeudin.net/product-category/free/
  15. 3 points
    I would like to see a series of best practice workflow guides on modelling small objects, with attention paid to solving ngons. I still get stuck on the simplest of flows and I never know where I should be solving things, or the best place to start modelling. It would be great to have a series of videos where you model each of the small parts of something, like a robot arm or something like that, and then since you have perfect workflow, people watching the videos will pick things up that are not the 'purpose' of the video, just little workflow tips and solutions to modelling problems. For instance this arm - I can think of a couple of ways of making the claw, but which one is best and wont have me solving ngon lines for four hours in the middle of the night? Do I Boole them out and then try and fix them? Do I start with three circle polygons and connect them? That base object, should I just intersect some different objects and hope for the best or is there a way of using SDS for this? Should I use the volume builder? I know this is above and beyond the scope of the topic, but if you dont ask you dont get! Also, the videos needn't be the high polish of the VP days, I think I would learn a lot from just a screen recording of an expert user making such objects, even with any mistakes left in. Thanks
  16. 3 points
    I think this does it. I used clamp and iteration rod6.c4d
  17. 3 points
    This sort of thing is the poly method... 1. Primary loops established 2. SnS together, then delete intermediate loops / add small 90 degree rim extrude at top 3. Patch inside that to get the top / add 2 new loops between top and bottom with Preserve Curvature on. 4. Continue on to lower part etc, then control loops and SDS. CBR
  18. 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.
  19. 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
  20. 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
  21. 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.
  22. 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.
  23. 3 points
    I found this... ...
  24. 2 points
    If a dynamic object is stationary (and not subject to any force) for about 2 seconds, the dynamics switches off. This may be what is happening in your scene. You can over-ride this by setting linear and angular velocity threshold to zero. The default setting of 10 is the value the object must be less than for the effect to happen. I first encountered this with dynamic cars that refused to move after 'waiting' at a junction.
  25. 2 points
    @Cerbera @natevplas Thanks to both of you for trying to help! I really appreciate it! Cerbera, if you hadn't moved this over to a different section natevplas may not have seen it. And, natevplas, if you hadn't asked to see the file, I likely wouldn't have seen the problem (at least not for a while longer I'm sure - I've been scratching my head over this one for a couple of days at least!) SO - the problem - so stupid - I had a left an extra copy of the shoe model inside the fracture. I usually make copies of stuff before messing around and changing things up too much - turning off the visibility keeps them out of the way - BUT, apparently fracture sees the things inside it even if they're not visible. If you're having weird problems with fracture (like even the mats rendering out oddly), double-check to make sure you haven't left anything extra inside it. P.S. If you're interested - the shoe model is by M aciek PtaszynskiI, and you can get it from here - https://www.behance.net/gallery/6410899/Nike-Air-Max-1-Premium
  26. 2 points
    most welcome :D Off to bed for the night but this i'll be the model coming in the next few days :D
  27. 2 points
    If you know Python, you can generate interesting patterns. In this file I rotate four mats to give a moving light effect disco.c4d
  28. 2 points
    This isn't going to be the proper way to model this part if you're looking for what Cerbera did, but I'm guessing the problem here is you need to check "Close Spline" in your Spline settings. Follow Cerbera's instructions and poly model these problem areas. Chop up your original spline into chunks and use Sweeps where they work, poly model where they don't work. Then combine with a Connect object or make your Sweeps editable and connect them up with the Bridge tool or Stitch and Sew.
  29. 2 points
    Ok, here's how we can make that split junction I highlighted red in the post above, and while we're at it, the circular bit above that... This is one of those situations where a boole can come in quite handy, and as long as we take the 30 seconds required to clear up after it, this is a perfectly legitimate use for one. 1. I started by making 2 sweeps, (along the lines Nate originally suggested), using carefully aligned path splines, and 8 segment n-side profiles (interpolation Linear) 2. Caps were turned on initially in both sweeps, so we have solid volumes to use with the boole we can place both sweeps within, set to Union Mode, with all option boxes ticked. 3. Now we can make the Boole editable, which, if we set our options right, will give us a single mesh when we do so. First order of the day is to weld all the coincident and near-coincident points, which I like to do manually so I choose which point they weld to. Now we can go on to adding the 3 knife cuts (Line Cut, visible only off, orthographic view) that will make this quads... A quick side note about these cuts, which you'll see are straight in my example, rather than following the flow of the intersecting branch, which would be technically more correct if those loops were to function strictly as controls. But by making them straight, we blur their functionality between control loops, and simple linear breaks, and we get a softer, arguably more pleasing result from doing so. My point is that this is a creative choice so you do what looks best for each case. 4. Back to the plot ... now we have quads, it will play nicely under an L3 subdivision surface, giving us an attractive, artefact-free divergent split (despite the 6 point poles). We can also delete the caps at this point, so we have a section suitable for joining to others via Stitch n Sew... In the rightmost image, here's some suggested topo for your remaining circular bit, made in almost exactly the same way, but from a cylinder and a (rotated 22.5 degrees) torus in my initial boole... So, with the 2 techniques above you can make each section of the spline you need then simply combine them all together to get your completed 3D model. The last step would be to stitch half-spheres onto each end, which will give the impression that the whole thing could have been a stretched capsule. Think I showed you that in a previous topic. Hope that helps CBR
  30. 2 points
    This is with an n-Side radius of 2cm. I like to use an n-Side instead of a circle because it's so easy to control the number of subdivisions, but you can use almost any shape you like.
  31. 2 points
    The setting is stored within the scene. If you get scenes from a third party make sure to ask them to use "Save scene with assets" before transfering the resulting folder to you. This makes sure all external dependencies are resolved and the files are copied to a folder local to the scene file.
  32. 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
  33. 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
  34. 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
  35. 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.
  36. 2 points
    unzip in your plugins folder :) Spacer.zip
  37. 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
  38. 2 points
    Dang, I knew I should have charged Hrvoje more when I sold him the cafe.
  39. 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
  40. 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
  41. 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.
  42. 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.
  43. 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.
  44. 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
  45. 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
  46. 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.
  47. 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
  48. 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
  49. 2 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
  50. 2 points
    New batch of setups :P 94_Raffale(MG+CA).c4d 93_EKG_rig(MG+XP).c4d 95_Concertina_rig(MG+XP).c4d



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