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Showing content with the highest reputation since 03/06/2020 in Posts

  1. 3 points
    Wow, thanks guys! this is really helped the problem, Im gonna quote this as the current answer to my problem, you guys explained it perfectly, my fuselage of bad geomatry's faceting is gone!
  2. 3 points
    This cannon that shoots hoops uses an emitter, but the emitter velocity doesn't seem accurate enough for my calculations, so I set the speed to 0 and gave the emitted object a custom initial velocity. Has a hoop cam There's sliders in the scenefile to move the shooter around. hoops.c4d
  3. 3 points
    Heres a bit of a workaround for you, I couldn't make it work with regular align clones or any constraints on rotation but I did get it to work using a surface deformer. Took a while to work out directions. The weirdest thing was that it kept flipping over with the surface deformer so I had to set the scale to minus 1 in the Y, I guess it would be, the middle one as seen in grab below. Quite a fun effect in the end. Move the cube target and you will see it adjusting. Turn stuff on and off to see what's doing what, Ive used an ffd to distort the second plane but I guess you can do that however you like. Deck Clone target aligned_0003.c4d
  4. 2 points
    Hello everyone, this is my first try Rocket launch using Xpresso / Pyrocluster / reflector any advise to do better? Thanks.
  5. 2 points
    Hi guys! We might have something that you guys would like. Maybe! We’ve created a plugin called the PBR Texture Manager for Cinema 4D . You can store all your textures and import them with a single click. There is support for all major render engines. We keep on updating and improving with the help of you guys. Our latest update includes the ability to create rendered thumbnails of your materials in which you can see all your materials and pick out the perfect one for your scene. Please send us your comments so we can keep on improving your workflow! Check out the plugin here
  6. 2 points
    With that much flexibility, do you ever find yourself in "analysis paralysis"? I mean, once you are deep into a project, the non-destructive nature is wonderful, but how do you get started? With standard modeling, you start with a spline or a primitive and then cut, push, pull and/or sculpt to get where you want to be (or what is in your minds eye). It is almost tactile. How do you get there with procedural nodes? You blew my mind when you said "anything" can have as many attributes as you want. Yes...I would be paralyzed. I would imagine that is the bulk of the learning curve....developing the methodology and approach to standard modeling tasks. What I love about C4D + XP is that they are both powerful and intuitive. Together (especially with fields) they are like "Houdini for Dummies"...which is not meant to insult C4D or XP but rather compliment the fact that both programs walk the line between ease-of-use and power so effortlessly. I don't know....I guess this says it all
  7. 2 points
    "Isometric" Industry City Cinema 4D Test Film Hello everyone, Here is another scene, this time its a Industrie City Szene, with a little flip animation. I have been inspired by a Pruduct video for a network router or something. Im not sure. I cant find it anymore.. Didnt do much lighting. "Isometric" Industry City Cinema 4D Test Film.
  8. 2 points
    Hi, i made a quick video. I hope it helps It would be too long for me to explain (my english is not that good)
  9. 2 points
    Honestly, ignoring your original question: don't waste your time on ProRender. Especially if you have Redshift already. ProRender is rather slow and does nothing that Redshift can't. If you want super photorealistic GPU rendering just get Octane.
  10. 2 points
    Hello. Your Light.1 had no shadows enabled at all, and the second light named "light" had Shadows Mapped Soft. If you turn them both to Area that will give you much better shadows. (See Image below) Next thing is the type of light. You have chosen Omni light which gives out light in no particular direction but puts out the photons in all directions. If you want shadows to be more dense use a Area light. Finally for the most realistic light change the fall off from the Details tab of the light properties to Inverse Square. (See bottom image) With the Area light the smaller the light the harder the shadows, and larger lights give softer shadows. Dan
  11. 2 points
  12. 1 point
    Understood, thank you so much!!!
  13. 1 point
    Because that is not how deformers work in Cinema. They work as children of geometry objects or in a group null with other geo objects, and in only a few other specialist circumstances, of which the cloner is not one.. You can't use a Cloner or an Array alone for this purpose because when you go to make it editable (as you must for it to be able to affect the geo) there will be nothing in it. So to do that we need to insert some dummy geometry roughly the same size as the falloff / bounds as your deformers, and with the deformer as a child of that object. Now you can array or clone that instead, make the cloner editable, select the parent objects that creates and Delete Without children to leave just the deformers in their correct positions, but now you can drag them all directly under the torus and they will all affect it. CBR
  14. 1 point
    Cairyn & Jed helped me convert some old COFFEE code into python to breath new life into this rig for an analogue wrist watch with chronometer (stopwatch) & I thought to share it here. I can't really take credit for it, it was hacked it together from another free setup downloaded years ago - unable to credit them with the details unfortunately. Hope it's useful for someone! Watch_XpressoRig_200404.rar
  15. 1 point
    I figured out a makeshift way. I created a spline path along the text curves and simply cut segments of the spline out so that the overlap doesn't exist. Now it's just a matter of resizing the stroke to mimic the width of the text. Thank you for your time!
  16. 1 point
    Considering the old-school-ness and correspondingly rather limited capabilities of Pyrocluster, the last 3 seconds of that are actually getting pretty passable, but the preceding seconds could definitely benefit from some extra love... I would increase PC quality settings a bit in addition to the advice above, at the expense of longer render times, and then get some lens-flarey, glowy post action going to obfuscate the flames, which I'd say are the weakest part of this at the moment... and I would try and remove the darker bits from the edge of the flames because they are making it looking 'pre-composited.' which is something we should avoid if we can... Also I think you want an orange light (visible / volumetric or otherwise) up the back there so the light on the craft itself can approximate what is happening below it. CBR
  17. 1 point
    I'll move this to Dynamics for you, as that's what this question primarily involves. I'm not sure what was wrong with your current dynamics tags (I couldn't immediately see anything drastically bad) but when I deleted them both and added new ones, everything just started working for me... I did have to put the objects comprising the cup into a connect so it didn't fall apart. Ideally that would be a single object. cup fixed CBR.c4d CBR
  18. 1 point
    Yep, that basic plan seems to work very well at stage 1... ...but what will happen when it all starts to move ?! I need to stare at that movement for a few minutes more, but I think I see a plan forming... CBR
  19. 1 point
    I had provided a quick plugin which does select UV boundaries, inspired by the thread you had started about this topic. Isn't the plugin useful in your context? If it does miss some functionality, you can discuss your specific needs in this topic: https://www.c4dcafe.com/ipb/forums/topic/109930-uvisland-outliner/
  20. 1 point
    Welcome to the cafe I'm all about the modelling, so our paths shall probably cross again. Anyway happy learnings and rewarding poly-pushing ! CBR
  21. 1 point
    That's some nice design on your Instagram, like it a lot! Welcome!
  22. 1 point
    Yes, just upload it here to the thread ! CBR
  23. 1 point
    Not exactly sure when MoGraph caches are evaluated, but setting the Xpresso tag priority to generator did the trick for me.
  24. 1 point
    3D-Pangel, I completely agree with first part of you post. I'm 63, lived a full life and have no family. if it comes down to me getting a respirator or a young person, its young person every time. They are our future. more than ever we need to ban together and help each other. yes isolate in attempt to contain this but help each other to get through this.
  25. 1 point
    Okay, Ive done this wardrobe like you have shown on the last picture, worked nicely thanks! Even the bevel works now
  26. 1 point
    When your spline lie on XZ and spline Y axis is pointed to world Z, just simply press "L" and set in coordinate manager rotation to zero...
  27. 1 point
    Since my job is totaly different as my hobby (work also some time with PC, but hard to listen music if you don't hear your own word ´cause of noice machines), I listen music only at home while work on my home pc or clean :-). What I really like to hear is young Portugal composer BrunuhVille... https://brunuhville.bandcamp.com/album/age-of-wonders
  28. 1 point
    In that case what you can do is use the filters as well as the flat tree option in the object manager. Whenever I want to delete everything of a single tag I use that.
  29. 1 point
    Octane has a default environment color (all solid). That default is active as soon as no other HDRI is active in the scene. You can disable it in this menu by setting the color to 100% black:
  30. 1 point
    here is a scene which makes the sphere like a water drop over surface, as mentioned Hexahedron type. Dan test fixed2 like water drop.c4d
  31. 1 point
    This is an example of my work where the floor tiles had to be exact dimensions. The floor is driven from a texture I created and mapped with exact UV dimensions. Very easy process in 3ds max to get the UV dims correct, I am hoping I can replicate this in C4D.
  32. 1 point
  33. 1 point
    I am not shure if this is relevant in your case, but there is a issue with physical render ( I think in combination with motion blue) that when the visibility of objects gets zero or a ligh intesity geets zero that you might experience some sort of light flicker in certain frames.
  34. 1 point
    You can't make this sort of form with splines, and you can't use any automatic generators like cloth surface to add thickness because they simply won't work with a mesh of this complexity unless you had added the thickness way earlier in the modelling process before you added any details or bevelling or control loops to either side. Unfortunately there are no shortcuts here - you just need decent poly modelling skills, and enough reference that you have a totally clear understanding of which parts are connected to which other parts. As you say, your mesh is absolutely full of modelling errors like triangles and ngons, and open borders, intersecting surfaces and numerous other problems, so I don't really know where to start in advising you how to fix it other than to suggest starting again. Again, there is no automatic way of doing this, because upper and lower surfaces are different, so will require differing topology, even though that topology must be identical at the borders, where they will join to give you a single thickened mesh. As for how you go about doing that, this is the main skill of the seasoned modeller, and involves a lot of topology solving, which is something that generally you only know how to do after a few years of everyday modelling experience... You should build meshes in the same parts as they were built in the real world in most cases, and that also applies here. I don't have anything like enough reference to see clearly what the internal construction is ( you need a photo of each separate half of this object ideally (top and bottom), so I can't tell you what to do specifically here, but I can advise that you should be modelling the thickness in almost from the beginning, and watching carefully to make sure that any topology you have in the most detailed (usually in the inner) surface is also maintained in the borders of the other side so that when you eventually come to joining them the topology matches, and is 100% quads, with no triangles or ngons, so it will work with subdivision surfaces. If I had better reference I could take you through modelling this step-by-step, but as that would be a 4 hour enterprise I'm afraid that would be a chargeable event. Please contact me via PM if you would like to discuss that further... CBR
  35. 1 point
    ... or you didn´t change some parameters in smart material projection? (different mapping or ...)
  36. 1 point
    No no, you miss my point slightly I fear. It's not that we are too busy to help you, it's that you can help us help you by uploading the file, so that we don't have to waste the time recreating it ourselves, only to find what we have done is somehow different to yours, and our suggested solutions might apply to ours but not yours, whereas if we'd just had your file, not only would we already have the setup done for us, but we'd know it was exactly what you wanted ! Please don't ever feel you are harassing us by providing more detail and the relevant scene file ! Yeah, that's not going to work, because by introducing the volume builder / mesher part when you have in the process you have changed the point count. So you do need to get your intended result another way. I can think of 2 other ways initially, but there may be more... 1. Change your order of operation. Build one asteroid using the volume builder / mesher setup, complete with all its cloner craters etc. But then take 2 editable polygon copies of that THEN use whatever tools and methods you like (but not a generator that would change the point count) to make the second object out of the copy. Then your pose morph can work because your point count won't change thereafter. 2. Abandon VB workflow altogether and do it with sculpting instead. There is specific functionality between sculpting and the poses you can use within pose morph which you can read about in the manual, and the stamps and stencils you can find there will probably be able to get you the result you need, and may even be MORE suitable for this than displacers were... CBR
  37. 1 point
  38. 1 point
    ...and what about using edge slide command in clone mode? (path selection or conversion poly2edges and removed unwanted edge)
  39. 1 point
    Hey guys ... this is great! Thank you both for taking a look and providing your advice. My gut reaction was to texture this but then I started thinking maybe I was copping out and just defaulting to what I know better. It looks like with a better normal map I’ll be able to create the look I want... so thank you both!
  40. 1 point
    I'm afraid that is an illegal spline in Cinema., where no more than 2 points can ever comprise a segment, so nothing you try will work here within a single sweep object. You will have to split the spline up into its source segments, which do follow local spline rules, and then do separate sweeps for the individual segments timed to coincide with each other via timeline keyframes. There was an episode of Rocket Lasso recently where they tried to tackle something, but they really had to run round the houses to get it to work as I recall. Perhaps if you can find that it would be of some help though. It is somewhere near the beginning of Season 2 I think... Somebody else might know of another way, but I'm not seeing one, unless Mospline in Turtle mode or something similar can save you... but I am not the best person to advise about that... CBR
  41. 1 point
    Dude this is fantastic!!! I also use Unfold 3D for UV-ing and also use Redshift THX a lot for this tutorial, Before the Zbrush part I tried to go the Substance rout but I DID not know that you had to do the bake in this method also, I taught that baking was only when you have a High poly of the model with details. So when I exported the textures without the bake they looked bad in C4D... THX alot, this is a huge time saver
  42. 1 point
    Really this is a topic for Zbrushcentral, but it just so happens I use Zbrush. The brushes your using in Zbrush contain only a small number of bricks, this is a recipe for noticeable repetitive tiles. You need much larger resolution textures of bricks to cover a large area. If it were me id do it old school method or do the bricks in Substance Painter. The old school way would be to convert a colour image into grayscale and apply the texture within Photoshop over a UV template. This method means no subdividing the mesh, manually planting small number of brick tiles. You could if you then wanted bring that texture into zbrush on the subdivided model and apply it as a displacement to a layer. Then make a new layer and manually add further details like breaks dents e.c.t. From there bake out the new Displacement. You do also now have the ability to sculpt directly in UV morph view within Zbrush so you could bring a large texture of bricks in and do it there but to be honest you can't beat the quality of the Photoshop method, no limitations by poly count. Now what you can do within Zbrush is make some bricks and tile these bricks to then make your own brush or textures, but for the sake of time id look for a large brick texture. If you google Zbrush brick tiles/brush your get plenty of video tutorials for this. For the brick regarding top of of castle id make this a separate piece and use the bevel deformer on it. Dan
  43. 1 point
    Thank you both so much for your inputs. When to model and when to material is a question I'm finding coming up more often so it's good to have something to grasp at when making a decision. Cerbera this is awesome thank you! I played around a bit and I think I'm picking up what you're putting down now lol. I did go after the floor in the second picture first and I have to say I spent all day futzing over this before realizing I should have just done a cloner. Which is what I did in the end so I could have the control over spacing. If you guys saw the antics I got up to you'd laugh so hard and I'd feel even more derpy. BUT the good thing about bungling about the wrong way is I at least learned a ton of . I started as you suggested for the cabinet with a plane appropriately subdivided. I extracted the splines separately for horizontal and vertical. Then extruded extruded them in the x and z to make a flat planed grid and then then extruded in the y to flesh out. Then had a whale of a time when I realized I wanted them spaced further apart so tried beveling (sometimes that will shrink something down just enough) but that didn't work so then scaled them and had to cut and chop and when that destroyed my polys went back and started bridging edges for days LOL. Then I crashed and lost a bunch of work and realized "hey idiot just f@$#%ing clone them!". Whew! I never knew about extracting splines though and got very comfy with the path selection and line cut tool so it's all good. I will refer back to this when I go to tackle the cabinet. Thank you again very much you are always very helpful Here's the rough of my attempt at the floor ignore the grain
  44. 1 point
    That looks like an error you get due to raycasting errors when baking, specifically from the cage. What did you bake this with? Depending on what's available for you you could try Substance Designer / Substance Painter for baking or try out xNormal, which is completely free. The software has a feature where you can set a custom cage for baking (basically expanding out from the original object) to get rid of these kinds of errors. It's a bit hidden, so if you need help with it just tell me and I can show you the ropes.
  45. 1 point
    Well, what we can see of the setup looks as perfect as we've come to expect from you, so not tempted to blame any sort of user error. But we could do with the pre-bake scene file to look at, or at least to see your baking settings. I suspect this is a bug, but even if it is we'll be needing the scene file to report it... Could you dropbox link that over to me (via pm if you don't fancy sharing it publicly) ? Cheers CBR
  46. 1 point
    If you're ever going to see the grid "directly" without the cover then I'd say model it, otherwise just do it with materials. It's not going to be 100% correct but if you don't know you're never going to see the difference. That is for the floor. For the cabinet well, depends on how close you want to get with the camera. It's certainly doable with mostly materials but at the same time modeling that could look way better. That's a job for @Cerbera
  47. 1 point
    Seriously great stuff. Love the use of different approaches with 2d/3d.
  48. 1 point
    Just wondering if this has been fixed yet? Is there a "mark everything read" button/menu/command somewhere...?
  49. 1 point
    - Mesh/Spline/Explode segments - Select all logo elements (minus the solid bkg) / Objects/Connect Objects + Delete Extruded logo.c4d
  50. 0 points
    If you want chill....James Horner. Field of Dreams end theme is just outstanding as well as his composition called "The Horsemen". Sad story actually. The Horsemen were an aerial acrobatic team and James Horner was training with them to be a acrobatic pilot. He wrote "The Horseman" as a tribute to his friends and teachers and something that they could play while performing. In an interview, he said he never felt more free than when he flew and wanted that freedom to be reflected in his composition. James Horner passed away in 2015 while flying his acrobatic plane. He was my favorite composer and I feel that loss to this very day. Dave
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