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Showing content with the highest reputation since 06/16/2019 in all areas

  1. 7 points
    A character I made for a pitch, but unfortunately didn't make it. The concept was a partyanimal, so I made this happy guy, always in the mood for a party!
  2. 5 points
    Not sure why but my fuse 's been kind of short lately. Been feeling drawn to Travis Bickle these last few days and decided to do something non violent about it
  3. 5 points
    A copy of a marble machine I saw on YouTube - I think the original was supposed to be perpetual motion. YouTube is full of that kind of nonsense, but I get ideas from them. The scene file has math breakdown of the toothed belt movement in the XPresso remarks. The dynamics was a bit lively, but I added particle friction to slow things down - an idea I got from GSG's Chris Schmidt. scene 10.c4d
  4. 5 points
    I'm not an animator for sure...but I finished last week this face character and his rig and couldn't resist getting him into trouble...
  5. 4 points
    HI Guys. Iv not had much chance to use Ornatrix beta, but with the added new feature which still has some things to iron out I thought id try my old model with its mesh strips, it didnt do a bad job with some tweaking. This hair was generated from mesh strips. Dan
  6. 4 points
    Few more :) 121_Coil_wrap(MG+XP).c4d 122_L_system_rig(XP+MG).c4d 123_Colored_bounce(MG+XP).c4d 124_Linear_Fracturing(MG).c4d 125_Color_from_mass(MG+XP).c4d
  7. 3 points
    For those who don’t know, this is how the process of hiring a freelancer goes. What follows is just my meandering experience and observation, your mileage may vary. Pretend you have a project. Lets say you need someone to design a Dinosaur character. First you will think if you know anyone. If you do, you will reach out to them. Then you will ask your friends, or freelancers that work for you if they know anyone. Then you’ll go to art station or some other portfolio site, or maybe straight to google and type in “Dinosaur character designer”, you will reach out to some of the people that you like, ask them their rates, and then if they are all too expensive you will go to fiver or upwork or freelancer.com or whatever other freelancing website exists. Nobody goes straight to a freelancing website, it’s usually a last resort. And it’s a last resort for people with small budgets. Because with the internet the way it is you can always find someone who does whatever it is you need to be done. Try it, try to hire someone who does what you do. I remember when i was just starting out there was this guy at a studio i worked at who kept giving me After effects jobs. I could do them, i had the skills, but it wasn’t really my specialty, i was always a 3D guy. That’s what i did well, thats why i charged more. In after effects i worked slower than most people and really wasn’t that good. But yet this guy just kept giving me after effects jobs. So one day i asked him: “why do you keep giving me these jobs? I’ m sure there is someone who does this better than me, and cheaper” and his answer really changed the way i think about everything, he said “Because i like drinking with you, and if you have more jobs, we can go drink together more”. At first i was like: “awesome”, but then it dawned on me, how many jobs do i miss out on, because someone likes to drink with someone else, or plays golf with them, or has kids go to the same school. It has so much less to do with how good i am at what i do than i thought. To me it was a revelation. So what do I do if I don’t know anyone who would hire me? You get to know them or you get known. My career was largely built on alcoholism. Especially when i was in New York. People all over the place drinking making friends socializing, exchanging business cards inviting each other to other events. And there is no faster way to get to know a person than drinking with them ( if you want a guide on how to properly drink leave a comment, it’s also a skill that takes time to develop). Alternatively go to events that either related to your industry, or if they don’t have them in your area, go to networking events for other industries, you might find clients there. I knew people who bought shares in mining companies ( just whatever the minimal was) and then turned up to share holding meetings and made friends and then got jobs out of that. Don’t like drinking? Get ready to do A LOT of work. Because building relationships with people is a very slow process if there is no alcohol involved, there are exceptional people which can make friends with anyone anywhere with everyone sober, but if you were one of those people you probably wouldn’t need help getting a job. So you have to start making a TONNE of work, and i mean a metric tonne. Start off with just volume, do a daily challenge. Post it on instagram, twitter, facebook, any platform that will let you. You have to get as many eyeballs on your work as possible. And it better be thematic, because people got to remember you for something specific. “oh i know a guy who makes dinosaurs” or “oh that guy who animates cars”. And you got to start posting it like CRAZY. For every 100 things you post, you might get one job out of it. This is not for the faint of heart. Which makes it even more important to pick a topic that you LOVE, because no matter what you pick, there will be people who LOVE doing that specific thing, and you will be competing with those people who will do it better and probably cheaper than you. Then go onto forums/facebook groups and start helping people, start answering questions, start figuring out problems other people are having, giving advice where people ask for it. Join the community. But don’t just post random comments actually participate, this is yet another way for people to get to know you. Also don’t forget to put together a proper website, you want a little piece of the Internet that is completely under you control. Go check out my article about small bussiness. It goes over how to set up a website rather quickly and what parts you need. Your website should convey to the visitor what you are good at and what kind of work you want to do as quickly as possible. Reels shouldn’t be longer than 1 minute, the shorter the better. Put your best work up top. Freelancing websites are really the last resort in most cases, they have the lowest paying clients and the jobs that no one else wants to take on. I know programmers seem to do okay on them. But creative tasks are just terrible. The most important thing to remember, that because this is hard to do, is the reason you will stand out. My favorite quote is “if it was easy everyone would do it”. I hope this was interesting, what should i write next? How to figure out how much to charge? Let me know in the comments and have a good one! The post How to get jobs as a Freelancer ( 3D artist) appeared first on Ace5studios. View the full article
  8. 3 points
    This might be it, or it might not be... joint.c4d constraints confuse me somewhat
  9. 3 points
    Hi! I wanted to show you my last animation project. It's a lyric video for the last song of Tom Rosenthal: Love Loosens Limbs. I co directed it with Magali Garcia (https://vimeo.com/magaligarcia). We combined 3D scenes with 2D animations, stop motion and live shooting stuff to make a large zoom out. It talks about a boy who feels awkward and stiff when music starts, till someone special makes him feel loved and free :) Making of and some extra stuff are coming. Good vibes! Hope you like it :)
  10. 3 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
  11. 3 points
    Don't feel bad. Cinema is a massively extensive and powerful bit of software that takes many years to become expert in. That's not because of the software specifically but because the whole encompassing project of making 3D graphics is vast and complicated ! You are not making a little word document here ! :) For example I have been a modelling specialist for nearly 20 years, 8 or 9 of those in Cinema, and I still don't know everything about modelling there is to know, and may still not if I stay in it another 20 years ! And that's just one small aspect of the program, (albeit arguably the most fundamental one)... You have to pick your battles. Find the thing you are most interested in, and get really good at that, whilst doing the best you can with the other areas to produce the best final results you can manage with the knowledge and skills you have at that moment in time. Sure, watch the tutorials, but be aware that the info in them doesn't usually go in effectively unless you actually do the project yourself in the software, and then continue to use those skills going forward. Chris Schmidt is another good proponent of this approach. His main thing is Dynamics and Animation and Xpresso, so he got those skills first, and got epically good at them by using the software every day, doing a lot of personal projects, then by helping other people via tutorials, and then by making it his day job when he could. All the time he was also learning the other parts of the software (no disrespect to him at all but he was weakest at modelling and texturing as I recall) but at a slower pace and more as and when he needed it to produce his final renders. By sheer volume of practice he was able to get very good at most aspects of Cinema more quickly than most. And of course his epic problem-solving brain helped a lot too :) During the moments I am not rammed with modelling work I try and help on the cafe as much as I can, which is not entirely altruistic :) By doing so I get to model, or start to model (and therefore have all the important thoughts about) up to 8 or 10 different things a day whilst I am showing someone else how to do something, which is almost as good for my skills as it is for theirs, and gives me ample practice and makes me faster at the things I am already good at ! Sometimes I will try and help people in areas where I am considerably less expert, but am vaguely confident I can find an answer, which again helps both of us equally when or if I do ! And sometimes I don't / can't and that is fine too. You might also want to find an ongoing mentor type person who can direct your learnings a bit more structurally, and guide you through any difficult situations that come up in your learnings / client jobs - I am that person to a few people, and I have my own set of inspirational people who I regularly follow who kind of act as that for me... do pm me if you think I could help you :) The important thing is that nothing you do kills the joy of it for you. That's why you start with the thing you like most - you are usually then enjoying most of your time in the software, which gives you impetus to go on. Initially leave the bits you hate / don't care about to the people that do. I still consider Character Animation to be largely none of my business for example, and that's fine. I will never be great at Xpresso, but I'll keep chipping away at it slowly over the years until one day I find myself with a general level of competence there too. You may also find your interests shift in the long term, which also helps you branch out into new areas. If you ever find it's getting you down (this happens to me about once every 4 years I find), just have a break, do something else for 3 or 6 months, and fairly soon you might feel the call back to it and can start again reinvigorated and back for the next round of learning... initially you think you've forgotten it all, but it's in there, and it all comes back if you persevere. Hope some / any of that helps... CBR
  12. 3 points
    I guess I don't really see the problem either. I think this is how normal maps should look, and now that I hear more about your material settings, particularly that you're using Luminance, I'm not at all surprised by your result. My understanding is that normal maps react to lights in order to fake shadows. If your material is basically a light source, it's going to drown out any shadows, especially when the polys are generally facing you. If you need it to be luminant, you will probably have to use your PS texture as a fake Ambient Occlusion and pipe that into the luminance to drop it down in those wrinkled areas.
  13. 3 points
    Since everybody seems to be posting their stuff here... I've been mainly learning X-Particles in the last couple of weeks. What an amazing tool but sooo much to learn! Here's some older material work, made with Substance Designer and rendered with Octane.
  14. 3 points
    A friend of mine showed me this clip a couple of weeks ago. I think there's some very charming design and animation in there. I don't like the music, but that's beside the point. Warning: Slightly NSFW Also, don't watch it or mute it if you're allergic to autotune. There's 20 radio songs worth of it in there. Enjoy
  15. 3 points
    If you draw in one of the orthographic views, left top front etc, then it should all stay flat. you can add a point with the spline pen tool or cut it with the knife as you would with polys Deck
  16. 3 points
    Put the nulls under Fracture and clone on Fracture :P
  17. 3 points
    Uploaded the last animation (so far ^^) vip!
  18. 2 points
    I hate to pour oil on what you might think are newly calm waters, but you haven't really matched the roundness of the ends to the reference - yours is still much more bulgey and sloppy than the one in the first photo, which has really quite tight cylindrical ends that don't bulge at all either down the length or down the height of the box as they do on your current model. Were you to send this to the manufacturer I have no doubt they would return it telling you it wasn't accurate enough. Don't wanna sound like a stuck record, but I have shown you how to make this properly in a way that will more exactly match the reference... CBR
  19. 2 points
    Thanks guys for help! I'm still at it, even thought it is not the easiest way to start but hey gonna learn during the process! Big thanks to ya'll!
  20. 2 points
    Ha Ha my old videos have come back to haunt me. I made these vids years ago, and later removed them from Vimeo with the intention of making better ones - but never got round to it. So they are on YouTube without my permission (or knowledge). So fire away - what's the question ? I had a few methods for camera sync - in this video using XPresso I take the average position of the cars and use a memory node to place the camera about 1 second behind. The camera targets the average center. victim of piracy - fame at last
  21. 2 points
    You're not allowing for the time spent during tutorials, at SIGGRAPH etc explaining the 555 malarkey. Probably breaks even . The bit in the video linked above where he simulates the air inside Tubeman by sending the wind object along the tracer generated spline is typical CS creative thinking.
  22. 2 points
    new ones :P 126_Spray_clones(MG).c4d 127_Keystroke_typewritter(MG+XP).c4d 128_Fracturing_inheritance(MG).c4d 129_Webbing(MG).c4d 130_Fracture_Bevel(MG+XP).c4d
  23. 2 points
    Here's a quick fly round the first few stages... 1. Start with a 6 x 6 plane covering the whole form, then delete everything except 1 corner poly and expand that toward the center then cut in a centerline that follows the loop... this gives us a starting point, but more importantly, defines the rotational axis as being at the center, which will be useful later... 2. Holding Ctrl, Rotate off a copy, holding shift as well to quantize it to 90 degrees (Right pic). Do that 2 more times. 3. Connect and delete all 4 models then bridge together the center, keeping polys all quads and as even as possible. Then select the center poly and Soft Selection in Dome mode that affects everything except the corner's outer edges, pull that forwards. Then Select All polys and using the mirror tool, mirror that across the centreline on Z (assuming rotational symmetry was also around Z). 4. Next we have to disconnect the centre section from one side and then rotate it until it meets the other arms, at which point we can weld them together... ...or CAN WE ? Actually probably not. I need to rethink this - the next stage is going to be crucial, and I can see big holes (as opposed to the right holes ;) in my current plan for that... You may well be able to see how to proceed after that but let me know if you need the second half... CBR
  24. 2 points
    I am pretty sure I already posted this somewhere, but here you go :) 142_Wheel_rig(XP).c4d
  25. 2 points
    Hi Polygon modeling is not done this way, it would be nice if you could just combine objects and get clean results but that is not the case. (Connect and Delete) command is so you can combine separate parts into one object while they remain as individual parts such as case and lid, this is not the same as welding them as if they are one single connected object. Here is the above once material is applied with lighting. Dan
  26. 2 points
    Thx @3dkobi but you can remove your last post now, and save your attachment space - I have already posted an optimized file, and reported it... CBR
  27. 2 points
    I'm pretty much resigned to it being a mess at this stage - didn't mean to come across impatient, just I saw '15 views' and no replies and thought 'Blimey!' It's nothing at all to do with exterior compositing workflows or color profiles - C4D's own render engine can't recreate a beauty pass from it's own multipass system (in R19). Looks like R20 has added 4 extra MultiPass channels - Direct Diffuse, Indirect DIffuse, Direct Specular, Indirect Specular - which *IF* you use PBR materials and PBR Lights, can be additively composited to recreate the C4D beauty pass, as described here: https://help.MAXON.net/us/#DRENDERSETTINGS-RDATA_GROUP_MULTIPASS From the horse's mouth: "With the Multi-Passes that were added in Release 20 it’s possible to correctly additively assemble the finished rendered image from individual Multi-Passes. This was not possible with the previous Multi-Passes." [Emphasis mine] So it's only really been A Thing (being able to accurately recreate the Beauty Pass) since R20, which I still don't have (or rather, have this huge project in R19, and will damn well finish it in R19. I've already learned that particular lesson, LOL. Never upgrade in the middle of a project). So I doubt anybody has had any success with it prior to now, and I promise you I've been hoovering up threads and replies looking for some succor or comfort in my smh amazement ;) Possibly trying the Material Channels might yield different results (closer? further? I've lost the will to live over the last 2 days, so can't be bothered with more experiments), but will probably frame this little nugget I discovered in the MAXON literature and keep it handy for future reference - it's tucked away in the MultiPass text that deals with Reflectance and Specular Layers if you choose either/both of those for your Multi-Pass: " Also note that, for internal reasons, the sum of the layers will never represent the composited image exactly." Seems like that's just the way this particular cookie crumbles, though if anybody here knows any different I'd love to know workarounds / Material Channel options / Prayers and ritual sacrifices that have worked for you. Cheers Daniel
  28. 2 points
    Chill out dude - people are busy, and it's only been up a few hours. I'd give it a couple of days... You could profitably use the intervening time to search the site and see if you can find the various posts where this has been asked and answered before... CBR
  29. 2 points
    Yes it is. Vec's modelling is A** (that's A double star, not A$$ !) across the board. There is nobody I can think of who sets a better example of SDS perfection than him. CBR
  30. 2 points
    Omg this geometry is so clean ! good job
  31. 2 points
    What Cerbera said. I started with C4D when I was 13. Now I'm 27, so I have 14 years of experience with it. Of course, of those 14 years the intensity with which I used and learned the program fluctuated a lot, especially during my time at university. I still feel like I don't know sh**. There's so many areas where I have NO idea what and how it actually works. I have very basic modeling skills but I feel like I'm pretty good with materials and general rendering techniques and settings. Ironically a big part of the texturing / material process happens outside of C4D in softwares like Substance Designer and Substance Painter so I also spend a lot of time there. Find a part of the software that makes you happy and especially interests you, and stick with that until you feel confident enough in the topic. For me it's materials and rendering. Nothing like spending a couple of hours in Substance Designer, rendering the Material in Cinema, showing it to people and they ask you where you got that photo from. You can chose whatever floats your boat! Modeling, character animation, motion graphics, simulations, materials, lighting, rendering. The beauty of 3D is that you are never done learning which makes it an increadibly thrilling hobby or job. If someone asked me to rig a character I'd have to pass. If someone asked me to model something moderately complex I'd have to pass. If someone asked me to animate a character I'd have to pass. I've done and tried those things, but I suck at it and I find no joy in it. But that's fine, because nobody knows everything. Even if you spend every hour of your life in C4D for the next ten years you wouldn't be an expert in everything. Again, find something your particularly enjoy and try to learn that. Stick with it. Learn everything around it that you need for that particular project. That's how I learned C4D. I never bought a book or video course, all I did was wade through the (very, very good) documentation, watched tons of YouTube tutorials and tried to implement that in my own projects. This is by no means a perfect way to learn it, but it worked for me. Good luck! Edit: Also, if you ever feel stuck, Cinema and the entire CG area has an increadibly welcoming and open community and almost everybody will try to help you and give a way techniques and tips that took them years to come up with. Just ask, people will help you.
  32. 2 points
    Just remember the closer edges are to each other the more or a crease will show so its about distributing the edges as even as you can. If you select the inside polygons and use the Iron tool your see how its trying to distribute the edges evenly. And here with the better-distributed edges. An extra little tweak with the slide tool to get the right edge verts even.
  33. 2 points
    Here is your model converted to all quads.
  34. 2 points
    And here is one which is on more even polygon base.
  35. 2 points
    You should also should go through the video tutorials on the Insydium website, i found them helpful. Also, if you look for Blender Cycles tutorials, you'll find plenty on youtube/vimeo. Cycles is Blender's default renderer, so you'l most likely find more tutorials for using Cycles in Blender than c4d. Blender has a differenet interface, but the nodes are all the same, except for a few nodes unique to Cycles4D like the mograph node.
  36. 2 points
    Mike Udin is about to release a training (https://mikeudin.net/product/cinema-4d-python-base/) It's in Russian. So I'll probably wait for the English version. But just a heads-up in case someone's interested. Regards, Ben
  37. 2 points
    When you duplicate geometry in mind to weld together like a window you must delete outside polygons so as to avoid Z Fighting and additional polycount. This is also the case such as when making fingers to weld onto a hand. The edges that are to be welded should not have a cap polygon between them. For sure check them UVs they should be packed to utilize the whole available space where possible, your textures will suffer and your be making much larger maps than maybe needed. I make things like this flat in the cloner then use Extrude with caps. Your get no issues with additional polygons inside. Dan
  38. 2 points
    Not sure if this is the same tool, but I 'repaired' an arrow tool (to R20) for a member a while back. arrow Tool.c4d
  39. 2 points
    OK. It's done. This version is made like this: Scene: Outer neon class tubes is are cylinders of 20 mm diameter, wrapped onto the letter shaped splines. On top of that they have a glass thickness of 2 mm. The material is a 90% transparent material with 1.25 refraction index and a reflectance channel. The inner neon light tubes are cylinders of 10 mm diameter, wrapped onto the letter shaped splines. The material only has a luminance channel. The blue is 240% brightness, the green 350%. In both, in the Illumination channel, the generate GI is cranked up to 2500% (strength only, saturation remains 100%). Th outer neon class tubes have a compositing tag that turns off the "seen by rays" and "seen by GI". If the "seen by rays" is not turned off, the illuminated surfaces of the inner neon light tubes are not seen (completely black) in the render. If the "seen by GI" is not turned off, the glass blocks the GI illumination of the inner neon tubes onto the rest of the scene, so the surrounding objects are not illuminated by the neon illumination material. I fixed the earlier issues I had with the reflections by properly balancing out the diffuse and specular reflectivity of the floor tile material. The letters themselves are a grey (no color) plastic material with a bit of surface bump noise. Lighting: There are a couple of stark red object driven area lights in the background to the left and right, kind of soft-box like. That is all the lighting in the scene. It would be interesting to see a render with the neon turned off Rendering: The rendered used is physical in default setting and has ambient occlusion in default setting. The Global illumination is QMC for both primary and secondary method, diffuse depth 3, samples set to "high", accuracy 90%, glass/mirror optimization at 91%. I experimented with the "polygon light' setting of the illumination material. I believe it can help you optimize render times if you only care about the quality and graininess of the surfaces directly illuminated by the material. You can use it to focus calculation rays on those surfaces and drop down the ray count of the rest of the scene and secondary hops. in my case I could not find a way to use it and still get the overall quality I wanted. And here is the result. Rendered at 4800 x 2700. Took 212 hours to render: Overall, the way the scene looks, I am happy with it. I will not try any further without new idea's or information. I am not so happy with the neon tubes themselves, especially when rendered up close. Due to the compositing tag needed on the glass, the glass is not lit directly by the illumination material running inside it, it is only reflecting light on the outside from other sources. The look this creates is not natural. Also caustic dispersion effects of the glass do not occur, but that is not so important. Studying close-up shots of neon lights, and testing both the area light and the GI methods mentioned in this thread in some detail, in the end, I am still struggling to produce realistic looking neon tubes. I hope you all enjoy this info or find it in some way useful. I would be happy about any additional tips, especially on improving the close up look of the tubes.
  40. 2 points
    Hi @Freemorpheme, there's 2 ways to go about this: - You sculpt whatever you want and then retopologize (and then UV the retopoed version. Then project the mesh details of your high poly sculpt on that retopoed version via raycasting, which in turn will generate a new high poly model with the proper topology and UVs. Then you bake the maps of this model and use the normal &/or displacement map backon the low poly retopoed UV model) - You have a base shape in mind and you create the right topology from the start. When the shape looks alright you UV and check the result with a checkerboard texture to check for problematic/stretched areas. If happy, you duplicate your model and subdivide it further to start scultping until you have what you want. Then, most often you end up baking the maps of the high to the low poly. So the note is: You'll never be able to UV efficiently if topology doesn't allow you to. Good topology makes your life easier every step of the way. Finally for a rock in C4D start with a Hexaedron sphere, use an FFD defromer to taste and a displacer deformer with a noise to get you started. Keep everything parametric until you have an acceptable shape; UV that, test it with a texture, and then start step 2 above. You can bake the high poly maps in Substance later. Hope that helps VH
  41. 2 points
    Can't resist a challenge radio_0001.c4d
  42. 2 points
    You can do the same thing in octane with a Blend Material. But instead you use the gradient between the two materials, the lower one being the glass, the upper one being the coating you want to blend.
  43. 2 points
    In windows you can navigate to the C4D .exe file whatever it is named and rename it to keep track of which version it is. Looking at the parent folder should tell you what version that .exe goes to. For me whatever version of C4D I double clicked on last is what windows uses to open the c4d files. That is if I doubled clicked on the R19.exe last it will open in R19. If it was R18 it will open in R18. If some time in the past you right click and say "always open with" it might not work like that and could open with the old version till you right click and say "always open with" and pick the new version of c4d. To get to "always open with" you have to right click on the file Open With > choose another app > Check "Always use this app for .c4d files" > More apps > scroll to bottom and choose "Look for app on PC"
  44. 2 points
    If you make the cloner editable, it's easy. This scene uses a Python list to store the collision data doms 3.c4d I'm like the guy who only has a hammer, and sees everything as a nail - I see every problem as needing XPresso + scripting...
  45. 2 points
    Going on a holiday in a few weeks, which gave me this idea: crappy things that could happen when you travel with the worst airline ever. Horrible ground crew, control tower that doesn't pay any attention at all, crappy taxi drivers, and so on. A lot of objects, vehicles and actually just one character, but with different outfits and assets. Also made up a name, logo and some great advertising posters. I'll upload some more images of the models in next posts, as I only get to upload 4.9Mb So in the end, I created these 5 animations: Watch on Vimeo: The joy of traveling: taxi The joys of traveling: checking in The joys of traveling: ground crew The joys of traveling: control tower The joys of traveling: vip > upload limit exceeded on Vimeo =( will upload it next week! Hope you like them, and of course, feel free to give feedback!
  46. 2 points
    Meet the new list (pretty much the) same as the old list: Much better viewport / object manager performance. I.E. Rapid looks development whether 1 object with a million polys or a million objects with 1 poly (to use a cliche example). Don't care if it's CPU / multi-threaded or GPU-based, just want it to work much more smoothly than it does. Better UV, retopology worklows. Not really my gig but I know how many other people need this / tire of using third party patchwork of solutions. Proper symmetry modeling tools. I think virtually everyone can benefit from this whether you do Disney style animation, motion graphics, or something else. Continue to polish the new nodal materials system and integrating with available renderers, particularly ProRender. Continue to polish the new OpenVDB workflow. I'd be real happy with any 3 of those. I don't even care which 3 although #1 is far and away the most important and holds greatest potential benefit for all users IMHO. Hopefully the promise of the new core is realized in a couple months.
  47. 2 points
    I always wanted to create a 3d character here is my attempt. I learned a bunch of stuff. It's mostly finished but needs some little touch ups. I will rig it in the futute.
  48. 2 points
    The numeric transform is currently in beta, awaiting feedback. As mentioned earlier I had been working on adding a new feature to the plugin, which would allow stacking of UV islands. With this addition users are able to stack multiple islands. When manipulating a stack each of its island would inherit the UV manipulation. It also allows to free up UV canvas space by stacking islands that require the same texture space. For now, only the "single-shot" island stacking is being demonstrated, where you stack selected islands by a command. In future, a more elaborate stacking-tool will be made available, where you will be able to interactively stack islands. This will allow to specify the stacking with specific polygon-matching requirement (later more about this). While the stacking-tool allows for a more specific solution, in case of complex island structure, I preferred to have the automatic stacking-command worked out first. This required quite some design and implementation, but also allows for a quick-and-dirty stacking of multiple islands ... which I assume would be mostly used.
  49. 1 point
    There is a small creek behind those trees. I'm thinking a bright sun glint off the moving water perhaps?
  50. 1 point



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