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  1. 4 points
    Bit of downtime to play with, so I'm making myself a Great White Shark, surely a landmark build in any modelling career. It's easy enough to build a rubbish shark, stop at the outline, whack a wind deformer on it and call that done, but I hope it's a rather a more interesting and rewarding process to really nail the forms and to progress to the inside, the UVing, sculpting, texturing and animation for what I hope will end up a near-as-dammit photo real model. And what better of all the sharks we could make than the good old classic the Great White. Thought about doing Megalodon, but for a small gain in size it's a much less attractive shark . I'll be doing a 5m long young adult female. Rather than making a whole tutorial I thought I'd post the main stages, so having gathered a sh**-ton of reference, here's the first one... Modelling the base mesh 1. Establishing Primary Loops Started with sliced 9 segment cylinders and symmetry, a 12 sided eye disc and some poly pen action for the start to the mouth loops. Each ring is a separate (editable) model at this point for easy isolation and tweaking. 2. Forming the body, expanding the head... Bridged the primary body loops together and tweaked to define the main hull, and extended jaw flow up above the eye and toward the nose. 3. Completing the (outer) head... Completed the primary head topology (minus the nostril) making sure I had 18 segments at the neck to bridge to the body... Also starting to define the characteristic upper jaw overhang / crease that will start to make this look like a proper Great White, as opposed to a more 'general' shark with unrealistic pacman-style jaws, like those really basic models you see around in tutorials here and there... At this point the eye rim discs went down to just 6 segs, giving me the 12 I want when later subdivided to L1. 4. Adding Fins and refining base mesh. Adding the fins and tail (the former of which were all started from circular edge flows), together with 3 additional loops for the gills and adding nostrils to the head completes the outer shell. I am leaving the jaws, movable gums and teeth for the inside at the next stage. At the density I modelled it we are at 716 polys (all the quads) so far (not including symmetry or SDS). We will need 1 level of subdivision to take it to base target base mesh density, as this isn't quite enough to hold the inner detail, and secondary forms. Above is that mesh awaiting that additional tweaking and an inside... Next post will be when I've modelled the inside, which is a bit more challenging... CBR
  2. 3 points
  3. 2 points
    Just the fact we can sit in front of our one machine and with one brain manage to turn out anything at all that approaches what the cream of ILM and 100 million dollars got you thirty years ago is pretty impressive. And even more excitingly, in thirty more years we will probably be huddled in front of fires eating rats and sheltering from the climate apocalypse, very much building on the promise of Terminator 2.
  4. 2 points
    Try the attached scene 1 01.c4d
  5. 2 points
    Hi, after getting this character out of his car for the next episode shoot, i decided to rebuild and improve the original rig. This is what i have so far:
  6. 1 point
    Thanks for the note... We shuffled a bunch of pages and probably lost a connection. Will send this thread to the web team. Cheers Dave
  7. 1 point
    Hi, It's in de dynamics tag of your spline dynamics. Go to the properties tab and set the 'rest mix' to 0% and your spline will follow your Null correctly. If you set it to be a 100% your spline won't follow your Null at all, if you set it to be a 50% it your spline will follow the Null at half the speed and so on. Hope this helps, -W-
  8. 1 point
    Hello I invite you to my website where you will find free 3d models, tutorials and interior and exterior scenes. Everything in Cinema 4D, Corona, Octane and Vray. www.vizforyou.com All models are made in Cinema 4D R17. They are optimized mesh - Nurbs and Subdivision Surface functions. Free Models:
  9. 1 point
    That's pretty simple. You just need a step effector that you apply to a cloner and a spline effector set to relative mode that you apply after that. Hope that helps HAS3PDTVUV.mp4 Spline_Distribution.c4d
  10. 1 point
    The logic was not the same, you switched the layers. Also you need the surface to be subdivided, the more even and denser the more precise the result. The effector was set to modify the translation in your example, not the scale as in mine. fitting 2.c4d
  11. 1 point
    For anyone interested, this was the set-up with the tracer object. Very handy for doing cables, rope and other bendy things. cable movement update c4d cafe.c4d
  12. 1 point
    Hi I use Redshift and 1 single 20180ti so cant comment about having two cards, I guess you need to weigh up the cost and power consumption as well as horse power. Nvlink is the new way forward, SLI is of no use to you. Redshift are doing things with Nvilink which will combine two cards memory in which you get most not all of the combined memory. I would suggest you head over to Redshift forum and ask this question as your bound to get a more answers as to that combo. As you can see in this artical the 2080ti is not that far behind the RTX Titan. https://www.pugetsystems.com/labs/articles/Redshift-2-6-22-NVIDIA-Titan-RTX-Performance-1325/ The RTX Titan is over double the cost of the 2080ti, I cant at this point imagine how there could be any advantage in a RTX Titan over 2 2080ti other than maybe heat, and less power consumption, and double the ram, these are things your need to look at. If you need 24gb now then there is no other option, but if you can wait to see how nvlink pans out, and what are the gotchas which Im sure there will be a few. Here is a link I think may help answer some Nvlink questions. https://www.redshift3d.com/forums/viewthread/28320/ Dan
  13. 1 point
    Their own proprietary software I would have thought. They have the sort of budgets and talent where it is feasible to just code the functionality they need. Whilst nearly all the studios use one of big 4 DCC apps (Maya and Max still winning) the film guys just write extensions to these things to make them do what they need at the cutting edge... years later that becomes a module or plugin set that might get sold off, or watered down and copied and incorporated for the rest of us in future software revisions of the DCC or as stand-alone entities... CBR
  14. 1 point
    In the case of a circle spline, that is why there is an nside as well. All other spline primitives contain only the points required to describe their shapes, and that is not changeable except in the case of the helix. Uniform interpolation also does let you choose amount of sub points, though these won't be visible or editable until you CStO the spline. It works like subdivision does on polygons. So if you have a 'circle' defined by just 4 points, then setting that to uniform / 1 will give you an 8 sided circle. In the case of editable splines the regular tools are enough to add additional points wherever you want them. There's also MoSpline, which can exactly match the shape of a source spline but with a more definable point count. See below, where I have made my mospline have 12 points independent of its source circle which has many more... CBR
  15. 1 point
    Velocity is distance over time. If you keep the time and increase the velocity you get a longer distance. If you decrease the velocity you get a shorter distance. If you want a faster movement within the same number of frames you need to shorten the distance between point A and B. If you want to slow down you need to increase the distance.
  16. 1 point
    Slightly refined version, with less control lops for nicer corners... CBR
  17. 1 point
    I contaced the support and got a newer Version of R21. Now it is working. Maybe its was bacause I have a new (unsupported) Intel Ice Lake CPU. ( i7 1065G7)
  18. 1 point
    Thanks DV - I found the joint tool now, where you can use Shift to split existing joints into smaller ones (without breaking hierarchy), which is what I need to do for the head., as the whole top front end should bend upwards as its mouth opens, and the head joint in the fish rig does need more flexibility than its single joint can provide... CBR
  19. 1 point
    Hello Peter, Do you mean something like this? switch_object.c4d
  20. 1 point
    I think that I might have just accidentally figured it out utilizing a fields effector and a pose morph pose. Thanks so much for the input.
  21. 1 point
    You could setup a simple controler slider with the FK rig so you can control over how much and when the tail moves. Dan
  22. 1 point
    I'd normally do that with 'ghost colliders' ; objects or shapes that don't render but still collide cloth... No idea how you'd make it fall into place then be belted though. Hopefully someone else will... CBR
  23. 1 point
    Aha! That works. Thanks for the tip. I thought there was a randomize all colors, but maybe that's from the old CDTools back in the day. Or I'm just old.
  24. 1 point
    Note: We have opened Weight Manager WM (Shift+left doubleclick on weight tag) Cinema add color to weights by some formula/automatically only in case in WM/Display/Colors/Surface Colors is set to "Multiply" When you switch this mode to "Object", you can manually set colors as you wish in Joints/Weights tabs of WM...
  25. 1 point
    Excellent - always nice to hear when a plan works and days get saved, and even nicer when OP thinks to mark their thread solved ! Gold standard forum-ing there my friend CBR
  26. 1 point
    Crisis averted CBR I dont know what happened, i did the change with SDS, placed one inside the other, and changed some settings here and there on their options, and now it works it was working by default on C4D R18, but this now fixes my problem, and saves my project!! Thanks!
  27. 1 point
    I just tried what I written in my reply and it works, ace now to rig this thing, with me luck!
  28. 1 point
    I don't think the chain expands. If you look at this picture it looks like the chain is open end, one end attached to the base of the hydraulic piston and the other to the top of the hydraulic . As the hydraulic piston moves upwards the chain is shorthand moving up on the pulleys and pulling the fork upwards. see picture:
  29. 1 point
    I kinda used this same method when modelling Cubones skull. This is amazing! It actually looks like a great white even before texturing, you've nailed the shape perfectly.
  30. 1 point
    I've done the next bit, which was Stage 2: modelling the inside... This might look like a weird undersea slug, but it's the base mesh for the outer gums, inner gills and stomach, all of which might be visible when our shark's mouth is open. I've made selections for the entire outer and inner parts so I can easily hide and get to inner polys to refine the model. I have other selections for hiding upper and lower jaws, which will help when sculpting these inner surfaces later. At the moment I haven't built in any musculature, or the very complex meshing of the gums, muscle meatus, tendons and surrounding cartilage, but I will change that bit next at the same time as I make the teeth and gum sections, which are going to begin and remain separate poly islands within the single model. I've also setup cameras inside the mouth so I can quickly get in there and see for my edits. I've also spent a while refining the outer form and redistibuting loops, and have added some fins, and all the details I was missing on the lower flanks. So, having done all I can at this level of subdivision it's time to apply SDS L1, re-establish symmetry, and add some finer detail and muscle accents before we tackle UVing and the main sculpt. I do have to be careful about order of operation, but when modelling is complete I do have the option to rig and animate before I sculpt and texture, and will probably do that so I can see if moving early on which will help my look dev... Talking of which I have already begun testing scene sets with caustics, godrays and particles so I can drop our shark into a suitable scene for material test renders. I've decided most shots of her are going to be at around 10-20 meters deep in open ocean, where light and rays are just starting to fall off. The pic below is about the general target light levels, though god rays and particles will add more variation... CBR
  31. 1 point
    I hate to say it, but if C4D becomes part of Adobe's Creative Cloud that is actually a better deal than what MAXON is giving us today. Creative Cloud has more software options, cheaper price, true monthly billing plus cloud storage. It is truly a sad day when you start to prefer Adobe over MAXON. What has become of this world? Dave
  32. 1 point
    Okay, I had a look at the actual values. First thing, the upper tris and quads are not connected at all with their right and left neighbors (I have moved and scaled two sides to see the connections better). The distances, however, are minimal. Two optically colocated points are no farther apart than 6.14390630018e-07 units, which is far below the value set in the Optimize dialog. After optimizing with the default values, the side points are correctly merged and form the base of the dome. The tip, which appears off-center, is still two points though. Here I have pulled out one of the two points to show the topological gap: So, the subdivision surface is not to blame; it sees two separate areas meeting in a point and its two adjacent edges. The problem is that the optimization doesn't merge all the 8 points of the tip, but obviously creates 2 result points by merging 6 points in one, and 2 points in the other. Now, why does it do that? In the image above I colored red and blue the two top triangles whose summit points have the greatest distance. But nooo! These two merge fine into the same result point! To be sure, I looked at the real point positions and the distances between each: The first list contains the 8 selected summit points (index in selection, original point index, position vector). Here, the values are identical (as far as the precision of the vector goes). The second list compares each point with each other (two selection indices plus the distance). The last value is the maximum distance of all. Obviously, all the distances, even the maximum, are very very small 6e-7 is 0.0000006 which is far smaller than the 0.01 distance default of the Optimize command... So I tried optimizing once more, and... Everything's fine. What the heck???? Still sitting and testing here...
  33. 1 point
    I couldn't resist modelling this guy.
  34. 1 point
    Nope I can't solve that, but do confirm it happens even in latest Beta builds and is specifically related to the normal map. I will report that to MAXON if needs be. Do send it to @bezo too - the more eyes on this the better... CBR
  35. 1 point
    I have seen this issue before with imported objects, and it has definitely come up on the cafe at some point in the last 2 years. But I can't find it now, or remember if it had a solution or not. I have a nagging feeling though that Cinema was indeed the only app that shows the seams in these circumstances. Did this model come with a Normal Tag ? And what were your import settings ? And was it available in any other formats ? CBR
  36. 1 point
    That looks great! The only thing that bothers me is that the logos on the yellow material have no reflectivity / roughness difference and I think they would have that.
  37. 1 point
    For the second. If you want link background color parameter with some enviromental tag texture, drag into enviromental tag in xpresso into his input parameter "texture"
  38. 1 point
  39. 1 point
    NormalMap-Online is not a bad option.
  40. 1 point
    Another way to go would be to split the model into 8 radial sections, preserve 1 and use an array or cloner to get the rest - then you could manually move 1 edge, or rotate 1 poly and fix them all at the same time. CBR
  41. 1 point
    Looking great so far. I also like to take the route of putting in the foundation essential loops first then fill in the gaps. I agree with what your saying about quality. Its rather easy to get a basic shark shape, but to make it look real its a lot more work. The Gills, Nostril, Eyes,gums and teeth are where the detail show, thats a lot of anatomy study to get it right. Been quite a while since iv done any personal projects, good to see you doing one. Dan
  42. 1 point
    Thanks Dan! Wow! such a quick response! Your explanation and tutorial of your workflow was extremely helpful! Really appreciate it!! Thank you VERY much!! Oh, would know of any other free MOCAP libraries online?
  43. 1 point
    Hi Open preferences, click on the open folder button then open the Prefs folder. In there is the current scheme your using, either Dark or Light. In my case its Dark.col. Always rename the files rather than delete them. I renamed mine to "Dark.col-off" Restart C4D, and the colours should be reset. To test this I only changed a background colour, and it reset it fine. I dont mess with these colours myself but agree there should be a reset button. Things in R18 may be different in which case Calryn post may be more accurate, I only have r20, 21 on my system. Dan
  44. 1 point
    Did you tried simple sweep? When watching on video, there are simple static objects projected on the face and animated is just offset. With sweep you could adjust thickness of objects over the length, animate start/end grow parameter etc. Timeline/f-curves offer another level of animation. If it looks too much "parametric", for profile spline set small amount of sides and put everything under SDS. Path spline after projection on the face slightly offset against face if needed... something_on_the_face.zip
  45. 1 point
    Most of the characteristics of metal surfaces don't apply here because it is painted metal, so actually all we really need is a flat matte surface. For that I would do only color and reflectance channels. The first is self explanatory, but for reflectance you want GGX or Beckmann, a roughness of around 50-60%, a dielectric fresnel, no (or not much) specular, and reflection strength of around 100%, but at around 30% in the layer strength. And that should be all you need, other than decent lighting in your scene and something for reflections to catch... CBR
  46. 1 point
    Adding background object temporary into the scene create soft blue backgound in render what could help you...
  47. 1 point
    Since you can add multiple camera objects, you can adjust them as needed and use Stage object for animation... (or camera morph for some " floating transition" effects )
  48. 1 point
    You can't, or at least not in the way you are probably thinking. But you can give your perspective camera settings that are very close to orthographic, and keyframe those to achieve the effect you're after and the transition between them. Just set your Focal length in the Camera / Object settings to something bigger than SuperTele, and you'll have something very close to an orthographic view but accessible through a perspective camera. You will also have to adjust (and animate) the dollying-back of that camera (obviously) so that your scene continues to fit in frame as focal length transitions. CBR
  49. 1 point
    I see what you mean Cerbera - same applies to dynamic connectors. If you have 2 objects and a hinge, crtl-drag makes copies but the 2nd hinge is linked to the 1st 2 objects whereas copy/paste links the 2nd hinge to the 2nd 2 objects.
  50. 1 point
    It was a good open discussion on the pricing changes, some features and how they might impact different people from differing backgrounds. Much more clarity than trying to scan through posts and tidbits of information on the web. Your response to the guy reporting the error only cracked versions get was golden I was just online for an hour or so of it so unless you went shooting crazy from the hip after that . I don't think there was anything anyone would be upset about Will watch the remainder over the weekend!



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