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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
    Look how many edges the circle one has, and then how many edges your square text has. There's the difference. Your 'square text' splines need more intermediate points, and then you can drop the size of the regular grid quads in the Caps section of the Extrude to roughly match the points along the splines, which will give you a result somewhat like your circle above, which might be passable (though not exactly great either) for making balloon text. However, I am going to question the suitability of this text / font / shape for balloon text in the first place - that technique is much more suited to big, round forms, not thin angular text characters. You don't say what the client wants exactly, but I would suggest looking at other options for this, including modelling it with nice rounded edges in the first place, or using something like a smoothing deformer to give nicer rounded results than a cloth sim will. But, assuming you are absolutely sure that balloon text is the way forward, what would be the better way to go here ? Let's look at the shape you have, and see what poly primitives would be a good starting point. Experience tells me that in this case we need a simple plane object for the square bits, and a simple disc for the round bits, the former of which we will give enough segments out of the gate that we can simply delete polys we don't need to get the result above but with perfect quads everywhere. 1. Get a reference image into Cinema so you can see what you're aiming for, then line up a plane over it like so... Note I have chosen 42 x 15 segments there, which lines up with the reference, and will give us a character 3 polys wide or deep. 2. Now make that editable, Poly Mode, and select the polys we want to keep, U,I to invert that section, and delete the ones we want to throw away, giving us this... 3. Now we can add an 8 segment disc object to the scene, give it an inner radius to start that bit off... 4. Now we can make that editable, Close poly Hole to fill in the middle bit, then make 2 cuts with the Line Cut Tool as above to get us perfect quads. Then you can optionally COaD that to the plane to get a single object. So now we have the perfect kind of polygons for any subsequent modelling operations. 5. But we need more polys than this for balloon text, so now we can go to Poly Mode, select all of them, and r-click / find Subdivide Command, click the options cog next to it, set smooth subdivision, and level 2, which will get us this... Now we have smooth rounded edges to our text (better for ballooning), and no triangles anywhere, and utterly even poly distribution. 6. Now we can extrude that (with caps) via the Extrude Tool in Poly mode (not the object). Your tutorial might tell you that you only need 1 extrusion segment, but if it does that is not necessarily trustworthy advice. You want more like 2-4 for nice balloon results... you'd only use 1 segment here if you wanted horribly sharp seams. Here I have selected the polys I will be defining as cloth seams in the next step... I did that by using Phong Break Selection to grab the front and back faces all at once, then inverted that selection to get the rims. 7. Once the cloth tag is applied, and those polys are defined as the seam, then you can run the dresser and see what happens. I recommend starting with a seam value of 1 cm. If it goes mental that just means your seam distance was wrong, and you can undo, try another value, and do the dresser again until it's more like what you want. When happy, delete the cloth tag, and you're pretty much done. I've put this under a Subdivision Surface Object now, (but only L1), and for all our effort it looks... OK. But now we're back to the original question - was this model suitable for ballooning, or was there a nicer way ? Let's see... If you just didn't apply the cloth dresser (or indeed a cloth tag at all !) you could add a smoothing deformer under our high poly model to round out the text in a different, and arguably nicer way, like so... You could also have stopped at the low poly version we started with, and tried soft body dynamics with some inflation, which would have given another type of rounding again. But I rather think the preferable solution was the one we gave you in your first thread about this the other day... Anyway, hope that helps CBR
  25. 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.
  26. 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
  27. 2 points
    Also try cloning some lights and adding effectors. Depending on what exactly you are after, things may be quite simple to achieve...
  28. 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
  29. 2 points
    You have three basic options. 1. Always work with absolute paths. This will either only work on that specific computer, or you have to use a NAS/Fileserver for all external assets and use network paths. 2. Only use filenames. In this case the assets have to be in one of the possible search paths. By default those are the project folder and the tex folder within the project folder. In the prefs you can define any number of additonal paths that should be searched for assets. The drawback here is that you either have to use unique names for each and every assets within the search paths, or you have to make sure that the search order of paths is taken into account (prefs paths come after project paths). 3. Put the assets into the content browser databases and reference from there instead as own files.
  30. 2 points
    Hi and to the Cafe Would be easier if you posted a scene file, however you can always use spline tangent data for orientation. Check this example :) tangent.c4d
  31. 2 points
    As well as checking for Closed Splines, you need to turn off Parallel movement in the Sweep. CBR
  32. 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.
  33. 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
  34. 2 points
    If you haven't heard of Friendly Shade, you're in for a treat! These are the best 3D textures / materials I've seen available on the web. Each one is photogrammetry-based and extremely detailed. They just released a new bundle and I thought I'd share: https://www.friendlyshade.com/bundle-02/
  35. 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
  36. 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
  37. 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
  38. 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.
  39. 2 points
    unzip in your plugins folder :) Spacer.zip
  40. 2 points
    allrighty, last offer at 499.000$ :P
  41. 2 points
    Dang, I knew I should have charged Hrvoje more when I sold him the cafe.
  42. 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
  43. 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
  44. 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.
  45. 2 points
    Skip to 12:57:012 for anyone who wants to learn how to print "hello world" ...
  46. 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.
  47. 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
  48. 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
  49. 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
  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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