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Showing content with the highest reputation since 06/26/2020 in all areas

  1. 4 points
    Hi, I was wondering why I never see just one person making "shorts". Now I know.. In the end, the list of “necessary” fixes only got bigger. I had to ignore it in order to post this in a decant time frame.. It's t actually far from done. I used C4D. No plugins or pre-made assets where used. Yes I’m aware the bow is reversed, thought it looked cooler. The character is a girl, sidekick of Fred. While she can do magic, Fred just likes bananas. You can follow me for more on: https://www.instagram.com/myosis/ https://www.artstation.com/myosis https://myosis.cgsociety.org/
  2. 3 points
    Personally I would consider upscaling out of the question under almost any circumstance - certainly not normal workflow by any means. Always render out at the resolution you need, or higher, for later downscaling. CBR
  3. 3 points
    @HippoDasTamus The first file save was 4 weeks ago from today. Most of the time went into rigging, cloth simulations and particles. All these systems feel outdated but served the purpose. Except for the particle emitter I ditch that and draw them in by hand... Animating a sphere over a spline. (Far from ideal, but fast) Modeling texturing and rendering went fast, I hardly took time to “revisit” any. As for the texturing, I like body paint unfortunately it’s been getting worse with each new edition of C4D. I’ve briefly played around in substance painter, but there wasn’t much to texture, a simple fabric bump and some stitches did the trick. There is a small piece of that in the “making of” video. I should work with more software “for better results”. If I had to choose I would probably learn Houdini. And then switch completely Yes, doing UV’s in C4D sucks. I relax using an edge selection but this never gives me symmetrical results, I then have to copy, delete, and flip.
  4. 3 points
    Wow....amazing. I do appreciate the amount of work you put into those 6 seconds and can therefore understand your first comment: "Now I know why just 1 person does not make shorts" Not sure what you have planned, but I hope that the lighting, modeling, texturing and rigging (which you did to an outstanding level of perfection) were the lions share of the work that needed to be done. Hopefully, the rest of the work (animating?) goes quicker and therefore keeps your interest and energy level high so that we benefit from seeing more. So please don't be discouraged! I personally can't wait to see what comes next! Dave
  5. 2 points
    Indeed - a scene file would show us what distortion is remaining in your unwrap as we'd be able to load it into later versions. But what you have now will certainly work, and you can check this very easily by loading a typical UV checker bitmap into a temporary material and applying it... CBR
  6. 2 points
    Added original file, where I encountered the problem, to first post. For screenshots I recreated the issue with cubes to be sure that the problem is repeatable.
  7. 2 points
  8. 2 points
    There are AI upsamplers, for example it's integrated in Octane. The results are not great, and depending on the content, even horrible. This is not a normal workflow at all. Downsampling is probably more frequently used, as it gives you a nice sharp image.
  9. 2 points
    Or use the python node: import c4d import random #Welcome to the world of Python def main(): global Output1 random.seed(Input1) Output1 = random.random() * 100 Create the python node, copy&paste this code, delete Input2 and feed the User Data into Input1. Output1 will give you a random number between 0 and 100 (in this case).
  10. 2 points
    I agree with both you on the points that you are making: 1) That I am brilliant and 2) We need an optimize command for splines! ...sometimes I crack myself up. But given that splines can get wonky (and you would think that is not usually the case), Cerbera has a valid point. Dave
  11. 2 points
    Let's see if they will maybe even support multi-GPU, that would be truly great
  12. 2 points
    You don't need any plugins. Here is how you do it. 1) Place the spline under an extrude under a connect: Extrude the spline by a huge amount in the Y axis (like 2000 cm) Then hit current state to object. That should give a set of connected polygons. Use a rectangular selection in a side view and ONLY select the bottom plane of polygons. With that selection, then hit "Edge to spline". You should now have your connected spline as well as you extruded polygons. See attached; Coastline-connected.c4d I hope that helps. Dave
  13. 2 points
    I hope all the dads out there had a great Father’s Day this past weekend! Daddy’s little girl got her first glimpse at her future superhero life! A little mini VFX shot I made over the weekend, animated in cinema 4d, and rendered in octane! Make sure to subscribe for more fun videos weekly!
  14. 2 points
    Yes I had the same problem, it turns out that the Beta release expired on the 26th of June, so you can no longer use it. It took me hours to find that out after reinstalling again and again and then contacting customer service. But the service guy told me they will launch the official version early July, so it won't be long until we can use the new features again
  15. 2 points
    I picked up Redshift from that sale.
  16. 2 points
    Let it be me https://www.behance.net/ambiclusion https://vimeo.com/ambiclusion https://www.instagram.com/ambiclusion
  17. 1 point
    Hey everyone, I just got Redshift and all the previews are black. I even went to preferences and see that "Refresh Material Previews Automatically" is ticked on, so I'm unsure why it not working. When I restart C4D the preview in the materials panel work but not the node editor, and after I make a few adjustments, the materials in the matewrial cease to work, this is only with Redshift. Any thoughts?
  18. 1 point
  19. 1 point
    Hey As an overwhelmed boutique cgi studio we need some extra help for one of our poejcts starting 30th June and would last 3 weeks. Tasks involved are for generalists: hard surface modeling, animating with easy VFX. Good texturing ang lighting skills are welcome. Please share some of your previous works with me so that I can send you the details: daniel.rozsa@gmail.com Many thanks, and should you have any questions please do ask
  20. 1 point
    That's fine - we can model that, but we need to be especially vigilant about edge flow, and how to work with very thin surfaces, and to think very carefully about at which point we add thickness, and how we best do that. What we really need to see though is a that box laid out flat, so that we have a full understanding of what folds where before we start. I can't really advise more specifically than that without this... CBR
  21. 1 point
    There are 2 normal strategies you could employ here, but neither are very taxing. One approach makes the base out of low geo subdivided topology and uses a cloner to clone ridges onto it. This is better for shots where the camera doesn't get too close, and the ridges are especially sharp and defined where they meet the lid... or you can go the proper modelling approach where you build as it is in the real world, from a single part. I will guide you more towards the latter, as proper modelling is usually the preferable way and this sort of thing is often seen in close-up. Its actually a very simple object to make IF you start with the right primitives and the right amount of rotational segments in them, which should be a lot more than you would normally start with.... So you need to find out how many ridges there are ( I usually count the number in say a quarter of it, then x4). Then we need to notice that the spacing between the ridges is roughly equivalent to 2 ridge widths, so we need to account for that too. If we say there are 18 ridges in a quarter of the lid, then we need to x3 that to allow for inter ridge spacing, and then x4 it to get the total segment number we need. So start off with a disc (or cylinder) primitive with 216 radial segments and none vertically. Now would be a good time to decide if you want to model all of it, or use either regular or radial symmetry to save yourself some time. I would save the maximum time by deleting all but 3 polygons (a ridge and a single ridge space either side of it) and then array that with 71 copies to get the final shape. That way I only have to model a single ridge, and the array will auto handle the rest of them for me. Is that enough of a push in the right direction, or do you need some additional steps ? I may have time to make you some step-by-steps later if that would be useful... CBR
  22. 1 point
    I see, thank you all for your answers, this properly answers my questions. I've never up-scaled anything before so I wasn't sure of its limitations.
  23. 1 point
    Thanks - It's happened too many times where I've only found out once I finish something that I went about it the hard way. Good to know that doesn't seem to be the case so far at least! Not sure if I'll go so far as to try the different maps, think that's a bit too advanced for what I want to get right now. Was just hoping to practice modelling/UVing/animating something of my own.
  24. 1 point
    I'm not completely sure how to fix the overlapping on the inner corners of the mouth. As they're most likely not going to be too visible, I might just try ripping them off and creating new islands for them? Ah! I had to flip the normals at one point because I realised I had actually modelled it backwards/inside-out. I guess that would explain what I've done there - I've just clicked "Mirror U" and that seems to have fixed it.
  25. 1 point
    What Igor's map shows us is 2 important things you should address... 1. There are overlapping UVs at the inner corners of the mouth, which should not be... 2. UVs need flipping direction, as his first screenshot shows the numbers inverted (and I presume we are still looking from the front) CBR
  26. 1 point
  27. 1 point
    Normally, no, this in not a good workflow. However, it may be useful for renderings of very soft detail, like clouds. The problem with upscaling resolution is most noticeable in finer details because it will soften sharper lines and edges. However, if the content is mostly soft already, the upscale effect is less noticeable, thus you can get away with it easier. In architectural renderings, it's generally okay to composite a slightly lower resolution sky into the background (if necessary) and scale it up to fit the frame because skies are typically full of super soft detail and color gradients. Plus, it can play into depth perception, since the object of the rendering is usually in the foreground, meaning the distant background would normally appear a little soft/blurry anyway. The overall rule of thumb with any upscaling is you don't want to push it too far. If you start to see the edges of pixels (pixelization) at 100% scale on your monitor you've probably gone too far. This will also depend on the desired viewing distance, so I recommend researching resolution vs. display size vs. viewing distance for more info.
  28. 1 point
    I didn't fulfill system requirement for newer version so I use older version. THANKS FOR ANSWERING.
  29. 1 point
    Your coffee depletion aside, coming from you that comment to me is high praise. Printing that one out and putting in the refrigerator!!! Glad I could help. Dave
  30. 1 point
    Brilliant I shoulda thought of that, but obviously had early morning brain-fog CBR
  31. 1 point
    If you have the CV artsmart plugin you can copy into illustrator and do a join command after hi lighting all the points. You can then save as AI V8 and open in cinema in usual way. In theory you can export to AI from cinema but Ive never got that to work. Converted file below. Deck CoastlineJOINEDinAI.c4d
  32. 1 point
  33. 1 point
  34. 1 point
    @Igor and @southpaw Thank you for letting me know and the kind words! And @3D-Pangel Wow, that might be the most motivating comment I have ever gotten! I was ‘in the midst of weather or not’ to continue, but you might have just convinced me to do another one Thank you all again for letting me know. It means a lot
  35. 1 point
    But wait there's more! Why have "fixed" polygon selections that break as soon as the topology of the objects to be textured changes, when you can use primitives and parametric shapes to volume select? Now things are getting really interesting from a procedural perspective:
  36. 1 point
    Good question that requires Jawset to answer. Jawset should allow you to link to a new machine within an existing license. People do upgrade their hardware and hard drives do fail (I would assume that the MAC address of your hard drive is how your machine is identified to Jawset). So they have to allow changes. Question is though....how often. Usually there is a set number of times you are allowed to link an existing license to a different machine or a set period of time between when you can change that hardware link within an existing license. Usually, the limit is on the number of times you can change your hardware within an existing license as that is easier to control. Whatever the control is, Jawset needs to protect themselves against users using a volume license like a floating license...and protect themselves from all the annoying user requests to make those changes. If you do get an answer, please let us know. Dave
  37. 1 point
  38. 1 point
    Learn how to create a "Real 3D Hologram" by utilizing the Split Depth Optical Illusion Effect. The "Split Depth Effect" is where you perceive 3-Dimensional movement on a 2-Dimensional surface, without any external trickery, or without the aid of things like 3D glasses. This effect is entirely perceptible with the naked eye. This effect works great as VJ loops for live shows, concerts, and events. Especially when the animation is played on large surfaces, like large LED Walls/installations, and Projection Mapped Surfaces. Here are some more generalized examples of the split depth effect and how it can emulate 3D movement. However, instead of using intersecting bars, we will be utilizing the entire frame of our scene to achieve this effect.
  39. 1 point
    UV´s are dependent sometimes on image what you want to apply on it (if it´s not some painted. Or where you want cut UV´s, where can be seam etc...
  40. 1 point
    You may also find this interesting. Here, Wolfgang shows typical techniques for technical real-world, measurement-based modelling in Cinema. So as you will hopefully see, Cinema is quite capable in this regard if you work to its strengths, and adapt your approach to those methods it serves well.... CBR
  41. 1 point
    Er... you might wanna read that first post again CBR
  42. 1 point
    They don't refresh at all, I just made a new scene, and made a new material, nothing but black on the preview, but if I save and restart, it updates. I'm going to do some troubleshooting and post updates here as I go.
  43. 1 point
    Nige's tutorial there remains perhaps the best there has ever been about that tool... CBR
  44. 1 point
    There is a PC workstation vendor called Thinkmate that does assembly about 90 minutes from my house. In my ideal world, I would like to review their assembly practices before I decide to purchase. In my dream world, I work a deal where I consult with them to improve their operations for a significant discount. I guess I just keep dreaming. To put this "slightly" back on topic of C4D, I have a rather humorous story. I just finished co-writing a document for my company on "Design for Automated Assembly" (or DFAA) of electronic assemblies to show our designers how to design products so it is easier to automate their assembly. During a peer review of that document, I flashed my desktop during a Web-Ex meeting which showed a CG tree and flowers made with Forestor. People asked "where is that?" to which I answered that it was computer generated. Once the standards were completed (over 45 pages), they wanted to advertise their availability to the entire company using our network of TV's in every break-room and building lobby around the globe (it is a big company --- over 70,000 employees). So they asked me if I could do "something on the computer" that they could show on those monitors. That was about all the "brief" I got. After I came up with something, it then went into review by everyone and there were some good comments made...but one thing I had to keep saying was "this is NOT my day job - I do have other things to do" because some of the suggestions got quite ambitious. Honestly, I really don't know how you professionals deal with real paying clients. I got a slight taste of it and I must say you must have the patients of saints. Anyway, here is the final result after many iterations (can anyone guess what the "very" subtle in-joke is?): Well....the day after it actually got broadcast-ed to all the break room and lobby monitors, every building got shut down due to COVID-19. We have yet to re-open. Oh well. Dave
  45. 1 point
    It seems to be an issue with the timeline playback as opposed to the animatinon itself. If I play forwards on the timeline, it doesn't animated yet if I play backwards or scrub backwards, it does. Very odd. It seems to work if I just used a shader effector rather than a shader field in a plain effector falloff but I want to use the falloff to also control the colour
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