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  1. 7 points
    We'll have some news soon on this. We've heard your feedback and are working to address it. - Rick
  2. 5 points
    i've been recently experimenting a lot with cartoon sfx setups like water, fire, smoke, explosions and so on purely with mograph, fields and volumes. no particles, no plugins. most fun i've had in a while, also i'm quite impressed what can be done with just the on-board tools. just wanted so share those here too, since people seem to like them a lot on twitter, hope you'll like them as well. https://twitter.com/everfreshdesign
  3. 3 points
    Was just modelling some Gothic Arch Vaults for various tutorials and my own general amusement, and thought I should probably throw a few together and at least make some sort of vaulted corridor render out of the various bits I modelled. Hence this, which I thought was quite nice, if perhaps not quite finished - probably needs more going on or a focal point in the scene (and some better texturing) to finish it off, but posting now in case anyone has any bright ideas about what that could be... This one was... Physical Render, Adaptive / Automatic / 15% /3, 3, 2, GI IC+LM. 45 mins or so. But was playing with Stereoscopy as well, so for any of you that still have the Anaglyph 3D glasses (red / cyan) that came in the box with R14 this one's for you... Being both quite lazy and lacking time, all I really built for this scene was the geo below, which was then cloned about and put next to a wall ! All good fun though, and very enjoyable modellings. Couple of GIF tuts about that over in my GIFTIPS thread for anyone interested... CBR
  4. 3 points
    Hello; I have started a new series of C4D Python tutorials on Patreon - current ones are all public so you can look at them for free. These are meant as an ongoing series for budding programmers and interested users who want to get a grip on scripting and Python plugin development. https://www.patreon.com/cairyn The tutorials start with the very basics, from literals and expressions and variables and calculations, so there is no prior knowledge necessary. At the same time on the Cinema 4D API side, we start with linked objects and document lists to make the start as easy as possible. You never programmed before? Then you'll be right at home here (some patience assumed). You come from a different programming language? I included some hints for programmers who just want to get up to spec in Python. You have prior Python knowledge? Then you can skim over the first posts - but don't miss out on the introduction of C4D concepts. You don't want to program ever ever ever? Then you can still join us on this Patreon for the finished scripts, which will all be attached as files. Is that needed? Well, there are many useful and vast resources on the web already (I may link some for further reading). But Python courses usually don't include C4D. The C4D Python API documentation is great, but there are so many classes and methods that it gets hard to find a swift access to it. On the PluginCafé, MAXON developers will help you out on API questions - but they can't program for you, or introduce you to programming basics. And then there is YouTube, but videos are maybe not the best way to present programming lessons. So, why not try a holistic and stepwise approach? Thus, the name of the series is "Python: Spoonfed" It's embedded in my general project Patreon but you will be able to identify it by that title. https://www.patreon.com/cairyn The series will run at least until we have gone through some useful scripts - whether we continue after that depends on the interest (namely, the number of patrons). Advanced scripts and extras will be patron-only. At the moment, five posts are available with more to come. We are at the point where the C4D API starts to play a bigger role with references and tree walking, so don't hesitate, come in and join! https://www.patreon.com/cairyn
  5. 3 points
    Here's my version of an amusing little device I saw on YouTube + Wiki - traces an ellipse. trammel.c4d
  6. 2 points
    I think MoGraph Selection is probably your friend here.. you can use that in the dynamics tag to make just some bricks react to stuff, like so. Hopefully this simplified scene file will set you off on the right path. Also note that the selective Dynamics only become active on contact with the smashy thing by using the On Collision Mode of Dynamic Activation, which saves a lot of tedious pre-smash calculations and 'settling'. Smashy Wall.c4d CBR
  7. 2 points
  8. 2 points
    I really wish MAXON would fix this. It's embarrassing. Extrude, lathe, loft, sweep... they were the basic, and core, tools every fledgling 3D software started off with in the 90's... 20+ years later and C4D's sweep still can't handle this most basic of situations...
  9. 1 point
    Cheers. Very weird. Some questions: 1. Is this Mac or PC ? 2. Have you tried a machine restart ? 3. Has anything changed about your system since you last used Cinema without this issue (drivers particularly) ? 4. Do you have latest video drivers ? 5. Are you using Open GL ? Don't get me wrong - I am not any sort of hardware technician, but these are the questions that those who are will want answered first ! CBR
  10. 1 point
    Woops, seems I totally misread the forum heading. my bad
  11. 1 point
    Yeah but at some point the handles cant be dragged out any longer, if i want a steeper curve at the inflection point. Then i need a keyframe in between. The dopesheet gets so cluttered then. In After Effects there is this plugin "Motion 2" where i can adjust ease in, ease out plus the steepness in the middle without aditional keyframes. But maybe even the Smart Tween plugin for C4D didnt do that? We now found https://nitro4d.com/product/magic-animcurve/ by now, but that also just quickly adds curves that you cant do by yourself without using additional keyframes. Not so bad though. Plus it's free.
  12. 1 point
    Hi everyone, Firstly thanks to the C4D Cafe for setting up this area to let us developers talk about our plugins. I may be making a few posts here about each new plugin I am working on to allow you to discuss them in each of their own threads. I have been working on a new plugin for quad based remeshing based on the open source Quadriflow library. This is a C++ plugin directly including the library. It is currently single-threaded but will continue to work on it and add multi-threading support and also CUDA support for windows users. Here are a few gifs of the plugin in action. This is meshing a densely triangulate mesh on OSX. I am setting the resolution with the slider to tell the system approximately how many quads to create. This gif is showing how you can use it to remesh a polygonal object while sculpting on it. Just press the quadriflow button and then keep on sculpting your model. The plugin is available now for R21 for both OSX and Windows as part of the Alpha Plugins tear on Patreon https://www.patreon.com/posts/quadriflow-29928483 And it is also available for the same price $10 as part of the Alpha plugins bundle from my store https://www.plugins4d.com/quadriflow
  13. 1 point
    Looks like some quality stuff. Best of luck to you.
  14. 1 point
    Hey guys. I wanted to share for anyone that might be interested that our patreon page is now live: https://www.patreon.com/yetipictures We will be doing mostly Xparticles/TFD/Realflow/Mograph/Dynamics/Fields/Octane. Thanks a lot!
  15. 1 point
    The Quadriflow plugin is now available on Patreon for R20 and R21. For both OSX and Windows. https://www.patreon.com/plugins4d
  16. 1 point
    The biggest issue with a "promotion" of selections is that selections are defined by the indices of the selected polygons (e.g.). In the resulting mesh (after applying the deformers or whatever) the indices are completely regenerated and have no connection at all to the original indices. Only the deformer itself "knows" which new polygons correspond with the original polygons (or rather, the programmer knows...) For something simple like a Connect object, the selections could be promoted because it is possible to identify the original polygons by spatial position - the Connect object (mostly) keeps polys from underlying objects. But with anything more complicated, like an SDS, you could not "revert" the algorithm to yield the original polygon and thereby determine its presence in a selection. This is something the deformers (etc) need to provide. I guess this would be part of a much more elaborate change in workflow: move C4D modeling more towards procedural / node-based modeling.
  17. 1 point
    Nice work, especially the nice detail of the leaves, gives it a more 'lived in' atmosphere.
  18. 1 point
    Hi, Main difference - Corona is CPU render engine, Octane (and Redshift) are GPU render engines, which means Corona will run on any hardware, Octane and Redshift requires NVidia GPU card. In terms of output quality and speed, Octane and Redshift are very fast, probably fastest GPU render engines, and it will give you fast real-time scene preview while making/building your scene, materials, lighting and other stuff. Corona is very fast for CPU render engine, and popular choice for ArchViz work. So it all depends what hardware you have, or you want to buy, with both Corona and Octane/Redshift you can make anything you want. Personally, I'm using Redshift for C4D, loving real-time scene preview while making scenes, which speeds up your workflow, and very fast final rendering. Dane
  19. 1 point
    In the range mapper horizontal axis is input, vertical is output. You can set the numerical ranges inside the node or exxternal using math multipy etc - then the range map is a 1 : 1 map with spline shape as response curve. The spline has the usual bezier handles - use ctrl click to make points, and you can clamp the max + min of input and output. Without clamp, RM calculates a corresponding output outside the set ranges - can give unexpected results. rangemap.c4d
  20. 1 point
    Yep, that's not so hard. Give yourself 30 frames or so to work with and make a Null at World Center. Than add a camera pointing down Z, and make a Plane (that will later be your water) that fills its field of view, make it a child of the Null, note the plane's size, and use that value a) to clone 10 or so copies of the null down Z and b) to advance your camera down Z the same amount by the last frame of your animation, so that the view from there matches what it sees on Frame 1 (ultimately you'll remove - ie not render the last frame, so it loops perfectly). Now you can populate your plane with whatever landscapes you like and as long as any elements you add get placed as children of the cloned group null then that should all just work. By cloning around 10 times and using geo placed so that it covers the edges of the frame you can effectively hide the loop point, but in your reference he has done it with an arch, which helpfully obscures the far distance at the crucial time, though as you can see below this is not strictly necessary if you place your landscapes tactically. A Physical Sky won't change unless you tell it to (other than cloud movement in some of the presets, which you can turn off), so that or a straight background Object, or even an HDRI on a Sky should be fine for that bit. The advantage of using a Physical Sky or regular SKY / HDRI combo would be that your reflections on water are correct for free. CBR
  21. 1 point
    I want to copy here MAXON's response in case anyone else is having this issue. It worked for me (with a few tweaks to these instructions). From MAXON: "Have you tried deleting your preferences? It's a great troubleshooting method in C4D and can fix a lot of random issues that may occur. Because, your C4D preferences may get corrupt over time due to anything from crashes, forced shut downs, OS updates, etc... You can delete your preferences by going to: Edit > Preferences in Cinema 4D When the preferences window pops up, click the "Open Preference Folder" button on the bottom left. Once open, quit out of Cinema 4D (this is a very important step as this process will not work if the application is running). Next, delete all the folders in the preference folder (READ BOLD PRINT BELOW BEFORE YOU DELETE). Finally, move up one level in the folder hierarchy to the MAXON folder delete all PRF files with _20_ in its name (If you are using R21 you would look for _21_, R22 _22_ and so on). Now. When you re-open Cinema 4D it will create all new preferences and hopefully get you past the issues you are experiencing." If you have plugins installed here you can leave the plugin folder. If you have custom layouts set up you can find them in in this path C:\Users\*USER NAME*\AppData\Roaming\MAXON\Cinema 4D R20_********\library\layout Make sure to save the .l4d and .prf files in this folder so you can put back once the preferences reset. If you have custom content created you can find them in in this path C:\Users\*USER NAME*\AppData\Roaming\MAXON\Cinema 4D R20_********\library\browser Like the layout just make sure to save your .lib4d files in this folder to put back once the preferences reset
  22. 1 point
    I've just made a whole load of these for my own personal project ! I did it with simple planes, bend deformers, mograph, aerodynamics, and wind forces. The stages involved are fairly simple, being something similar to the following: 1. Get leaf photos - I literally went outside with a camera and collected 8 'reference' Autumn leaves in various colours and shapes of the season. Maples look most attractive on the whole. Or if you can't be bothered to do that you can find some online. 2. Scan or photo the leaves (on a white background), separate into individual images, then remove the white BG in Photoshop etc and save out as png or any format that supports Alpha. 3. Create a plane for each leaf type in Cinema, and give it 1 segment down the spine, and perhaps 4 or 5 down its length. You don't need any thickness. Then each one of those gets a bend deformer (fix Y length) which allows you quickly set the degree of leaf curl per model. 4. You can load your image into the colour and Alpha channels of the material to get very low poly yet realistic leaves. 5. Next stage is to place those leaves under a cloner, but the mode you choose there will be defined by the initial arrangement of leaves you want in your scene. I started with a Grid Array of them off-camera, and used dynamics, gravity and wind to make them fall and flutter down past the camera. Doesn't have to be a cloner though. An emitter might work better for you if you need to generate a constant stream of them for example... 6. My Rigid Body (leaves pretty much ARE rigid bodies in this context) tag went on the Parent Cloner, but was set to apply to children / Top Level etc so it affects the leaves individually. Then it's just a question of making sure Aerodynamics and 2 Sided are turned on in the Forces section of that tag, and giving it some suitable Lift and Drag (I found you want roughly half as much drag as the Lift value). I then Added a Particle Wind Force, and added it to the list in the Rigid Body tag's Forces Tab, making sure that is set to Include and that the force type is Aerodynamic Wind. 7. Then you just need to experiment with different wind / turbulence parameters to get the type of movement you want. Everything else in your scene that the leaves might have to interact with will need a Collider Tag. I suggest you set friction very high, and bounce very low both on the leaves and the colliders. Also make sure your Dynamic Scale is set to something appropriate relating to the LEAF SIZE in Project settings / Dynamics / Advanced. No good will come of having leaves that are 3 cm long, and then having the default of 100 cm there. I set mine to 10 cm (average length of my leaf objects), which gave much better results. If you want consistently whirling leaves that don't settle much, then I'd also make a large 'container cube' with a collider tag on it so none of the leaves escape the scene area and continue to get blown about without getting blown away ! Put a display tag on that in Lines Mode so you can see what's going on inside it... CBR
  23. 1 point
    Have you tried a range mapper with a spline to control the relationship between input and output? Then the input could be a standard slider, and the output would be whatever the spline maps it to.
  24. 1 point
    Cerbera, thankyou. I have it and it worked. I am relieved to get it working. I appreciate your help.
  25. 1 point
    Too many characters with the S unless we remove the -ED from Launched, which I just have done CBR
  26. 1 point
    No, I don't think that should make any difference at all. 55 degrees is well within normal operating parameters for that card. You'd ordinarily only be worried if those temps got into the 70s... I'd be surprised if that alone is making it crash. Do you have the latest drivers for it, and (just as a precaution) have you opened the case to check the fans on it are working ? Also, have you run any diagnostic software that came with the card to check for faulty blocks of VRAM for example ? CBR
  27. 1 point
    I'd say it's a safe option (rather than ideal or best practice) that will work in most circumstances, and will certainly give that material a reasonable appearance in renders, but it would be a shame not use other maps if you have them. Reflectance (or specularity) maps can make a great deal of difference to the look of some materials, although I wouldn't say it was a particularly vital part of this wood texture. Likewise, I'd say displacement was largely unnecessary on this material - so it varies from surface to surface - sometimes color and bump (or normal map) is fine, other times the other maps may be more essential.. CBR
  28. 1 point
    From bottom up I'd say color, diffuse?, bump or displacement, normal, reflection. Though just play around with putting them different areas and see what looks good to you. Sometimes you get a surprise that looks good even though it was not intended to be in that channel.
  29. 1 point
    Just noticed than even my set up although right The motion clip system just will not allow the rig to be within a null as it takes on the nulls pivot position every time, I never normaly add the mixamo rig to a null myself. The root joint has its own pivot in which the motion clip system takes note of. Because its animating it takes into account for its movement hence a pivot object added to a clip will be placed where the root bone is. Unfortunatly if you put the rig into a null, the null has no animation on it so when adding a pivot object it looks at the root which is now the null which is now offset. You simply need to keep that rig outside any nulls, or make sure the null is part of the motion hierarchy when a clip is made, even then it may fail.
  30. 1 point
    Here is a good workflow. 1: Make model or import it. check to optimise it in case some random points are left behind. check Us, and make sure each seperate part has its own centre axis. 2: Freeze transforms. Put the pivot at the feet of the character with Z axis point backwards. In your file case all flaps where not frozen hence you cant revert them back to T pose for character. 3: Export complete character with all parts, flaps in this case included. This way everything gets weighted together, no need for constraints, although you can. 4: Selected all objects freeze it all. 5: Hold Alt with root joint selected and make a NULL, then add all meshes to it or in another NULL named "Meshes". 6: Select T posed rig make a motion clip, import flying animation without mesh add it to the Null that the Tpose rigis in and make a motion clip, delete flying animation rig after. 7: Go into Timeline remove Tpose clip and add the flying one. You have T pose clip in case you wish to go back to base Tpose again for instance if you need to fix weighting. File sent in PM. I moved the parts in rough position, but you get idea. Dan
  31. 1 point
    No. For those you'd have to merge them in, create a null at your view centre, parent that to the imported object, and then hit Reset PSR. CBR
  32. 1 point
    Yes. There is an option in Preferences to create new object at View Centre. CBR
  33. 1 point
    If the model is in a T pose right at the beginning after modeling, then you can use this in MD right away but thats not the way I like to work. I found its best to always rig it in Mixamo and download not just the animation of the guitar but download the T pose from mixamo too. Then using the motion clips at frame 0 use the Tpose clip. Now when you export a FBX into MD the animation will start in T pose then go into the animation so you can both make the clothes and the dynamic clothes in one session. The other way would be to import T pose Obj then after making clothes import the animation cache via a FDD file, the old way of doing it. Make sure you match the frame rate in both C4D and MD or your get lag and the clothes will be either in from of the body movement to too late. If your on version 7 or newer of MD then your have smooth mesh feature in MD, if not then your need to bake a higher res version of the animation for MD so you get a smoother collision. Dan
  34. 1 point
    What you are describing sounds like Motion Blur. If so, that can be done in Cinema, it's but massively inefficient to do so, as it increases render times a ludicrous amount. Much better to do that in post apps like AFX. CBR
  35. 1 point
    Okay, dumb question but... did you realize there is hair inside the mouth? The whole thing is an interpolation issue. As you interpolate the hair from the 4 nearest guides, C4D takes the guides from BOTH sides of the mesh, simply because the guides on the backside are closest - regardless of the "distance on surface". It's a bug that was driving me crazy too. The only way to overcome the situation is to separate the hair into different parts which occupy only selected polys of the target mesh, and position the guides in a way so they don't interfere with each other. Here's the original fur (after removing Redshift stuff): Then I removed the guides from the inside: Better, but you can see that the hair on the inside is now growing the wrong way (to the outside, as all guides are now pointing there), and that the upper lip and lower lip guides are still interfering with each other, creating jagged mouth fur. Then I split the fur in an upper head part (incl. upper lip) and a lower head part (incl. lower lip). The inside now doesn't grow any fur, so I have reduced the fur count a bit: Looks too sparse now (I suspect that the dense fur above was actually inner fur growing to the outside, but it's rather late and you can check that yourself...), so I upped the hair count again for both halves. It's not perfect but that's as far as I'll go. ltk_lookdev_exp_0001.zip
  36. 1 point
    Hi It could get complex depending on how much motion is happening between both hands but the first course to try is to use a Parent Constraint. When using constraints the pivot position of a object is paramount to how the Guitar will move with the body. Being that most movement is coming from the hips id try to constrain the guitar to the hips. First step is to position the guitar in the correct place on frame 1 so that its close the right hand, while also in position to left. Add the guitar to a null object. Enable the Axis tool (short cut L) Turn on snapping and choose the option Axis snap, and only have that selected. Now move the pivot axis of the null to lock to the tip of the hip joint. This sets the guitar as a child to the null, and the nulls pivot axis to where the hip is. Turn off snapping and the Axis tool. Now with the Null selected right click and go to character tags and select constants and choose parent. From the parent constraint tab select the hip as the target. Now the guitar follows along. The next step you may want to take is to get the left hand to direct the neck of the guitar. To do this try as follows. Again the pivot point is of importance so you will want the base of the guitar pivot at the position you with to be the fulcrum point such as the base as the guitar. Now add a null and position it right in the palm of the left hand. Now as before use the Axis tool and move its pivot to the wrist or forearm tip position, even a bone in the hand, this will set what part of the hand will move the neck of the guitar. Add a (Look At) constraint to the guitar and in the constrain settings in the Offset tab choose (Maintain Position) Now select the target as being the Null. Now add a Parent constraint to the Null targeting that at the wrist bone. Now when the left hand moves so does the neck of the guitar. If you need a more visual demo let me know. Below is the file. Dan Guitar_Playing.c4d
  37. 1 point
    Ok forget last message. Its a mess. It looks like there is a series of errors done along the way and its coming from the rig being put into a null after its been baked down, not working. You realy need to get the order in place in the first place. Have everything in nulls as intended before you start animating, only adding constraints on objects that have been frozen. I cannot get the joints to work with the new offset, its acting like a double transform even if the null is the same location and orientation as the root joint. Dan
  38. 1 point
    Whaaaa... yes, that looks VERY strange indeed. Would I assume correctly when I guess that the clumps on the lips coincide with the vertices of the mesh? Polygon Area is quite fine; the difference to Polygon Vertex is mostly seen in meshes where you have polys of very different size. In this case, Polygon Area equals out the density of the hair. The issue here doesn't look like a density problem though, and not like an SDS issue either. If I see it correctly, these clumps are growing longer and more irregular than the fur on e.g. the right cheek side (in the image right). Are you able to post a simplified mesh with these fur settings and the same hierarchy? I don't think I can solve that without seeing all the settings.
  39. 1 point
    You do not put the hair on the SDS. You put the hair on the basic polygon object. If you want to limit the hair to a polygon selection, this polygon selection needs to be on the basic polygon object too. While setting up the hair, you do not use the SDS at all. Ignore it. When Cinema is evaluating the SDS, it will automatically move the hairs according to the SDS (even if the SDS is deformed by Skin or a Displacement deformer) - that is, if the SDS is in the Catmull-Clark modes. If for some reason you absolutely need to use e.g. OpenSubdiv, you're out of luck - the hair will stay on the original polygons.
  40. 1 point
    i missed that one, have to give it a spin... thanks for that
  41. 1 point
    it was a private conversation between friends, so if he would think it's bad he would have told me. there was absolutely no reason to sweet talk things. and again, i agree with the post above, if you apply a few "tricks", scenes can be handled pretty well so there's actually decent performance (not saying that i don't wish it was faster)...
  42. 1 point
    Ok, try changing Irradiance Cache to QMC, and samples therein to Low. CBR
  43. 1 point
    Done! Sorry about that. I am new(ish) here.
  44. 1 point
    Hi There Unfortunately it is not. The mograph effectors do not interact directly with the object pivot/axis. This means that you can replicate that effect with geometry (exp: moving, rotating, scaling objects) but not with joints, or nulls since it's only a pivot without any kind of geometry. However, there are a few tricks. You can create a system with a cloner and add some effectors. With xpresso you can link a joint or a null directly to a clone. This action is separate for each element you wish to connect, but in the end you can control several independent objects with a cloner and effectors. Pretty neat. Another trick. You can also create some basic animations for your joints and with a morph target set in a higher place in hierarchy you can control those objects. cheers jb
  45. 1 point
    Hi There! I disagree with Fastbee's opinion in almost every aspect he mentioned. In my opinion c4d is a great tool for character animation and even rigging. It's far away from being perfect but it handles really well and i build all my rigs from scratch. I've also used character builder and it works ok , besides being a lot more "messier". And if you (Fastbee) think c4d is bad let me tell you about rigging in other apps: 3ds max: a total c r a p with a conection system called wire parameters that is a total insanity. Completly dependent of third party plugins. Maya: the king of riggers. Pretty cool but unless you know MEL or python you don't go very far. You can't even create an IKtoFK seamless transition without a sh*** line of code. Very good software for pipelines full of TD's and code writers. Awfull for freelancers and generalists. Houdini: the big guy on the block right now. No one dares to say bad things about it, but unfortunatly not very good when it comes to control object axis. You need quite an amount of coding for simple operations because apparently CHOPs (channel operators) are not that well developed. When it comes to control mesh thats another thing. Blender: that one i really don't know much about it. There is a lot of fuzz around it and it seams to be a good soft, but in my opinion people work there mostly because it's free. And by the way u were talking about rendering in c4d , well blender doesnt even have a decent plugin for network rendering (i guess there's one you got to pay ). Actually i think it's pretty easy to rig in cinema 4d, comparing with other 3d apps. Obviously there are some tricks to master as like any other app. I recommend you to begin with some basic tutorials to understand some rigging basics that are the same in every 3d app. Once you start learning these basics you'll need to learn some xpresso wich is a very eficient tool to create object/axis relations. With xpresso you can go very far without the need for coding. You can build a rig from scratch with lots of options. Although xpresso it's almost like some sort of code. Then another think you need to master and that is a tricky one, are the priorities. C4d reads information from top-down(objects) left-right (tags and constraints) Last, if go into coding you'll see most of your tasks will speed up a lot. Plugins Cactus dan Plugin. Oldie but goldie. There are some nice tools there. Worth to check it. and its free. Sorry for the big text, but i think it's nice to expose the pros and cons of a soft. instead of just roasting. Every 3d app has it's good tools and bad tools. I think you have to check those like i did and then you build your opinion based on your experiences. However, i can say that c4d is quite capable for rigging, animating etc. Just watch tutorials, and build a lot of rigs just to learn good practices. Maya or others tutorials are also good because sometimes you just need to learn about rig structure (and that is similar). good luck Joao Batista (former character td from Nebula Studios)
  46. 1 point
    Could be used command "Align Selection to Workplane" from locked workplane palette on the left side of viewport. Benefit of using this command is reset rotation/keeping position instead of command Reset PSR where everything goes to world zero coordinates...
  47. 1 point
    Heya, this is our presenation in case anyone interested And as Sebastian said, be sure to check everyone's, great tips and approaches!
  48. 1 point
    Hi everyone, I am working on a fluid simulation system called Jet Fluids. It is based on the open source Jet Framework by Doyub Kim. This is a very early Alpha plugin and I work on it every now and then to add new features and workflows. But it will keep changing and being updated. It is available for R20 and R21 for both OSX and Windows only for Patreon Alpha Tier subscribers: https://www.patreon.com/plugins4d This was free for about a year but I just recently moved it to the Patreon to track who really uses it and who is interested in funding it. If you use it and create anything cool, or find any bugs then just post it up here and let me know. You can also visit: https://www.plugins4d.com/jet-fluids for more information as well.
  49. 1 point
    Hello everyone! Cinema 4D instance object is cool but it lacks some major features to be awesome. One of the things i miss most it's the hability to load an object plus a proxy. This way we can instance many objects at a higher resolution with the possibility to switch to a simpler low-res version. The new feature in C4D LOD can do something like this and probably better, but it's slower to setup, so i added a few upgrades to the native instance object allowing the user to load both proxy and high res objects. But there's also a bonus: This tool also incorporates a python script that allows the user to automaticly render the high res version even when the proxy is selected. This way we can setup our scene with hundreds of instances with lowres objects and render much heavier stuff. This was inspired in the xref auto-exchange tool but this one works with scene objects. This script was refered in a later post in this forum : Thanks to everyone involved on it's creation. @ruimac @mikeBeckman Hope you enjoy it and have fun with it. Cheers Jbatista Power Instance.zip
  50. 0 points
    That's American morals. Instead of showing any semblance of nipples, it's better to graphically display how living persons are shoved down a meat grinder, and zombies ripping the living flesh out of hapless victims. Violence = Good. Sex = Bad. The real issue is that we are in the grip of American companies who enforce that kind of policy, and there are no reasonable alternatives.



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