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Showing content with the highest reputation since 06/27/2020 in Posts

  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
    wish the release notes and Service Pack update release notes would have alot more detail. instead of something vague like "update to calibration tag", say what the fixed,added,improved. what was the problem.. in 2-3 lines
  3. 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
  4. 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 All these systems feel outdated but served the purpose.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.
  5. 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
  6. 2 points
    My friend that is a horribly optimised scene, of the type that would grind the even the most capable and valiant systems to zero frame rate without some serious consideration paid in that department.... Just opening the file has ground my system to a halt and essentially off-lined it for 30 mins while it tried to catch up. It doesn't crash, and does get there eventually, but will continue to struggle until you fix the scene. Unfortunately I have a whole day of client work ahead of me, so don't have time to thoroughly advise or have my system offline any more (!) so I will give you these 3 general tips until I can get back later and give you specifics, if someone else doesn't beat me to it.... 1. Set scene Level of Detail to Low. 2. Set any cloners you can to use multi instances or render instances. And / or turn cloner numbers right down until final render. 3. Turn dynamics off altogether all the time you are not specifically working on that aspect of the scene. CBR
  7. 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
  8. 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.
  9. 2 points
  10. 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.
  11. 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).
  12. 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
  13. 2 points
    Let's see if they will maybe even support multi-GPU, that would be truly great
  14. 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
  15. 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!
  16. 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
  17. 2 points
    Hello! If you want to start in C4D, use this link for FREE 3d Class https://skl.sh/3d3v0c3 https://skl.sh/3d3v0c3 " Geometric Shapes in Cinema4D: Create you own 3D World" Is perfect if you are not a Designer but you can do great composition. Use the link and watch the class completely free and get acces to all the course of Skillshare for 2months. Here watch one lesson! Instagram: https://www.instagram.com/evelingsalazar_/ In this class, we'll cover: ✯ Main tools of the C4D Interface. ✯ Find your Style ✯ References, style, and shapes. ✯ Patterns ✯ Creation of the stage: from geometric shapes. ✯ Composition: design principles: shapes, hierarchy, scale, rotation, direction. ✯ Modelling Shapes. ✯ Lights: Light and Physical Sky. ✯ Background. ✯ Materials: Linear patterns •Metal material • Gradient material • Base color material • Glass material. ✯ HDRI. ✯ Camera settings. ✯ Physical render configuration . ✯ Post-work in Adobe Photoshop. ✯ Final Thoughs Link of free class: https://skl.sh/3d3v0c3 ☺ Thanks for reed! If you have any suggestion or comments, let me know! ☺ Instagram
  18. 2 points
    I picked up Redshift from that sale.
  19. 2 points
    Let it be me https://www.behance.net/ambiclusion https://vimeo.com/ambiclusion https://www.instagram.com/ambiclusion
  20. 1 point
    Yeah, I used symmetry to make the first pair of lips as well. I just had an idea that I might try just before restarting (It's just a personal project for fun/practice, so I'm not too concerned about making everything perfect. If this was for something professional I'd certainly be starting again at this point!). The way I've rigged this is making ~12 different pose morphs for the lips for phonyms e.g. a, e, i, o, u. I've used Xpresso to rotate/move the teeth with a range mapper using the 0-100% of the poses, making them move differently for each phonym on the pose morph. I've also used the same method for the tongue as well. I might just quickly try doing the same for the invisible box - a different pose for each phonym and tie it with Xpresso to the lips. Then I think I can just parent all of them to the same null to move it round my scene. Thanks for the examples - I'll certainly be needing them after I find out in an hour my botch fix doesn't actually work
  21. 1 point
    Upload the file ? (via dropbox or similar) VERY difficult to try and gain a full understanding of your entire setup from those few words... CBR
  22. 1 point
    Indeed - learning 3D involves a lot of doing stuff again, so best get used to that and enjoy the fact that things are nearly always better the second time round I knocked this up quickly in 5 mins to show you the sort of enclosed structure you are trying to create, using symmetry* which helps not only with modelling time, but also provides some extra clarity as we get a cut-away view for free... * If you do use symmetry when modelling this, don't forget to collapse that (select it and press C) down to a single mesh BEFORE you UV and PM ! And while I'm in the 'Golden Tips Department', when you re-UV you only need to care about correctly unwrapping the pink mapped polygons - the rest of them won't be seen, so don't bother UVing them - tear off those UV polys, move them outside the UV canvas and forget them. Also a big time-saver that one. CBR
  23. 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
  24. 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
  25. 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.
  26. 1 point
  27. 1 point
    I didn't fulfill system requirement for newer version so I use older version. THANKS FOR ANSWERING.
  28. 1 point
    I would say while it is definitely possible to achieve the same results as in other software, Cinema is not the best for character animation in it's vanilla state. Though with some plugins (mostly Demusher, animtools, anitools and Nitropose) you can get pretty much on par with the other DCC apps. One thing that is a bit weak in C4D though is the animation layer system, it's UI is honestly pretty badly integrated and sometimes it's just buggy You might want to take a look at Bomper Studios colin rig that is currently available for download and try around a bit with it, then you can see that great rigging is also possible in C4D, there are just not as many tutorial resources as for other apps By now I am getting nice results in Cinema and I use it mostly because it offers a great deal of artistic freedom and ease of use and I prefer to do as much as possible in one software. You can definitely put Cinema (animationwise [with plugins]) on the same level as 3DSMAX, Blender or Houdini. But if you are really concentrated on character animation and this is basically the thing you focus on the most, then Maya is probably what you want to learn, not only because it offers a broad set of animation features but also because it can get you a job more easy as it is industry standard for character animation. And it has animbot, the most excessive plugin animation tool palette in the world
  29. 1 point
    Hi all, I have just updated my Solidchamfer plugin to R20 and above. It's free and you can get it here: https://github.com/FMalmberg/SolidchamferR20/releases/tag/R1 (only windows build for now- if anyone wants to add a Mac build that is very welcome!) Solidchamfer is an edge beveling plugin, and was originally developed back when c4d did not have similar tools. Since R15 the bevel tool in c4d does a similar job in the "Solid" mode. For my own modeling, I've found that I still prefer how my plugin handles a lot of corner cases, so I decided to update it to R20. Enjoy! /Filip
  30. 1 point
    Thanks deck, that's great! I will have a look into that plugin. Glad I did not start welding manually yet.
  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
    Like you would any UV mapped material - by lining up the bitmap elements over a UV mesh layer you can generate in BP UV edit... CBR
  33. 1 point
  34. 1 point
    I love it. They just keep get better and better..... You are like the "Beeple" of animation/compositing/VFX work... What a neat legacy of memories you are creating, especially if you keep going as she get's older. Just imagine 20+ years from now when you have all those animations playing on a continuous loop (via holographic projection of course) during some major event in your daughters life (graduation, wedding, etc). Dave
  35. 1 point
    Okay....if you are NOT yet convinced to stick with XP, this should do it: Honestly....this just blows my mind. It looks WAY more easier to use than TFD with far better results! Again, Insydium just kills it! Unbelievable. Dave
  36. 1 point
    Is this happening during animation ? If so, you could use a memory node to compare current value to value on previous frame and unfreeze the random number if different. the data change should be step freeze2.c4d
  37. 1 point
    Wow that looks absolutely stunning, I am always surprised to see this level of feature film animation done in Cinema, but your film and the recent Coffee run short show that it is perfectly possible. Thanks for sharing!
  38. 1 point
    Well, I got it to work via a fairly complex Python Generator script that took several hours to write consisting of about 170 lines of commented code. I'll post it later after I clean it up and test it further. Here are the results: Gouraud Shaded: ..., with lines to show polygons: Object Hierarchy The Python Generator creates a single polygonal object out of the sibling Null that follows it (named Parametric Group in the image below). Then, the Correction Deformer can be employed to create Polygon Selection tags from that single generated polygonal object, which can then be moved them to the Python Generator for purposes of partial texturing. The result is that the Material Tags on the generator with corresponding selections assigned to them allow for a subset of the polygons resulting from the subdivision, to get textured. It should be noted that the generator is forced to copy (clones of) the selection tags to the polygonal object it generates in order for them to have the desired affect. Sadly, if this isn't done, we're back to square one just like with the SubD Gen that started this adventure. Fortunately, this process is automatic and happens behind the scenes when the generated object is, well, generated. All of this is done without destroying or having to manually materialize the parametric modeled hierarchy as the materialized polygonal object gets created. The parametric nature of said hierarchy allows for meaningful high level changes in real time and such changes get automatically propagated to the polygonal object created by the generator (sans any NGons, since all ngon lines need to be resolved to tris and quads, due to poor NGon support in Python). Of course major topological changes to the procedural portion will "corrupt" the polygonal selections in the generator's tags, so this example does not represent the best use case for this technique, since it shows many disparate objects merged into one and the topology is therefore closely coupled to all of them. It is a good demo of the capabilities of the generator and certainly helps to get the point across, though. A real use of this would be to have several (or many) triplet groups, consisting of the generator, a reasonable self-contained parametric subset, and a temporary correction modifier that can be used to generate the selection tags. These triplets would then get grouped as part of a larger model and allow for the continued use of parametric objects such as primitives, generators, and deformers all through the development of the model with the ability to texture partial subsets of the resulting polygonal constructs they create.
  39. 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
  40. 1 point
    Hello Sol, welcome to the cafe. Its easier than you may think, just learn one bit at a time and your soon be creating cool stuff. Dan
  41. 1 point
    Welcome SOLCHENG I'm new here as well! C4D is an awesome program. an very one intuitive comparing to others 3D platforms. I Hope you can enjoy your stay here!
  42. 1 point
    Hello and welcome to all... this... 3D is intimidating in general, but Cinema makes it just about as intuitive as something so complex can be. However, there is still an absolutely vast amount to learn, so good to get started Fortunately there are lots of good tutorials online, not least those you get with Cineversity or on Youtube, and we are here to help with specific questions for which you struggle to find answers elsewhere... My suggestions are to start with tutorials on the interface in general before moving on to basic poly modelling tools, then textures, lighting, rendering, and lastly mograph, animation and all the peripheral areas, of which there are many... in fact there is enough here to keep you busy and learning for at least 10 years, so take it at your own pace, and learn the areas most important to you first. Spend a lot of time initially watching tutorials, but after a while 'doing' is much more important than watching. CBR
  43. 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
  44. 1 point
    Er... you might wanna read that first post again CBR
  45. 1 point
    ...small "videohelp" using snapping tools (maybe solve your both questions) https://www.dropbox.com/s/0jg4ytvrcafhcgs/snapping.mp4?dl=0
  46. 1 point
    Nige's tutorial there remains perhaps the best there has ever been about that tool... CBR
  47. 1 point
    Here's a tutorial that some joker made a few years ago. This may help.
  48. 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
  49. 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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