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Showing content with the highest reputation since 06/29/2020 in Posts

  1. 3 points
    You can't. While polys and points exist as object data, edges are just the connection between two adjacent points on a polygon. Without polygon information, there is no edge. You can create a linear spline from the edge, of course. But that's not the same as an edge collection.
  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 All these systems feel outdated but served the purpose.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. 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
  6. 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
  7. 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.
  8. 2 points
  9. 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.
  10. 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).
  11. 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
  12. 2 points
    Let's see if they will maybe even support multi-GPU, that would be truly great
  13. 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
  14. 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
  15. 1 point
    THANKS dude, i was getting crazy really appreciate!
  16. 1 point
    You could use dropbox and post link here and screenshot simply drag into your post...Have to enough informations is always better ... With fields comes new falloff system into c4d there are few differencies with using fields falloffs and weighting. More info about it in help about joint falloff.
  17. 1 point
    I have added a few more options to the navigation widget. Here's a demonstration video showing the possibilities. Numeric inputs have been provided in the tool's Attribute Manager, allowing for fine tuning the position, scale, rotation. Quantization is available as well (using shift key during drag), with custom quantize values. Next I will be working on the documentation, before releasing the plugin to the public. Coming soon ...
  18. 1 point
    Pure magic! Thanks for all these
  19. 1 point
    Thank you!! You from the forum are always so helpful
  20. 1 point
    No, they are separate objects, so one can't know what the other is doing. There is no way that I am aware of that is quicker than just drawing it in with the live selection tool in top view... However, this is not the way to do this, as you will end up horrible jagged polys because your rivers topology has nothing in common with the terrain. You need to create the latter from the former ideally so the edge flows match... CBR
  21. 1 point
    While it is true that until now fluid or smoke simulation has been pretty slow and relatively unusable for large simulations (which is also the reason I have only rarely used these features), I must disagree with the rest of your argumentation. My experience with the support was almost always a response on the same day, the next day at most. Maybe the scale of my problems were more standard and more easy to answer though. But I think the great strength of XParticles is the artist-friendly design and interchangebility of all their systems - for example using a very simple smoke sim as an advection driver for other particles to create water bubbles or stacking other modifiers on top, which are simply features that no other plugin can give you in this scale I think their main drawback is really the missing GPU acceleration, but with this out of the way I imagine the fluid and smoke stuff to finally become quite usable
  22. 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
  23. 1 point
    No no, don't think of this as attaching a box to the lips, instead you are creating an extension of the lip model that then creates a cloth-type 'bag' around the other elements in the scene. This should have been done back while you were modelling, and not after your UVing and pose morphs, which are both going to need to get done all over again because you need to change the point count on the model now... But having learned that vital lesson about the importance of forward-thinking in 3D, if you now remove the UV map, and the morphs, you can continue modelling from there to create a contiguous bag surface out the back of the lips... The key to this working is that you will use 2 materials on the single model. The bits you have now will remain that pink material, but the new polys you add that comprise the 'bag' will get a brand new material that only has a luminance channel, and is flat black so it can't be seen against a black backdrop, or reflect / respond to light in any way. Then, having done that, NOW is the time to do your UV map, and then Pose Morphs. now your black bag can adapt to every movement the lips make, and nothing new has to be 'attached' to anything... CBR
  24. 1 point
  25. 1 point
    Great resource here by Eric Gooch which shows all the noises at different scales as well as inverted. Deck http://www.cybergooch.com/pages/c4d/noise/c4d_noise.htm
  26. 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
  27. 1 point
    Thanks - It's happened too many times where I've only found out once I finish something that I went about it the hard way. Good to know that doesn't seem to be the case so far at least! Not sure if I'll go so far as to try the different maps, think that's a bit too advanced for what I want to get right now. Was just hoping to practice modelling/UVing/animating something of my own.
  28. 1 point
    What Igor's map shows us is 2 important things you should address... 1. There are overlapping UVs at the inner corners of the mouth, which should not be... 2. UVs need flipping direction, as his first screenshot shows the numbers inverted (and I presume we are still looking from the front) CBR
  29. 1 point
    Sounds like a good approach to me and the result do look promising so far. I don't think you'd benefit from a joint based workflow in this particular case. If you want super realistic results you could use different maps depending on how stretch or relaxed the lips are and blend them depending on the phoneme pose. UVs shouldn't be too hard to achieve, even in 21.
  30. 1 point
  31. 1 point
    Normally, no, this in not a good workflow. However, it may be useful for renderings of very soft detail, like clouds. The problem with upscaling resolution is most noticeable in finer details because it will soften sharper lines and edges. However, if the content is mostly soft already, the upscale effect is less noticeable, thus you can get away with it easier. In architectural renderings, it's generally okay to composite a slightly lower resolution sky into the background (if necessary) and scale it up to fit the frame because skies are typically full of super soft detail and color gradients. Plus, it can play into depth perception, since the object of the rendering is usually in the foreground, meaning the distant background would normally appear a little soft/blurry anyway. The overall rule of thumb with any upscaling is you don't want to push it too far. If you start to see the edges of pixels (pixelization) at 100% scale on your monitor you've probably gone too far. This will also depend on the desired viewing distance, so I recommend researching resolution vs. display size vs. viewing distance for more info.
  32. 1 point
    I didn't fulfill system requirement for newer version so I use older version. THANKS FOR ANSWERING.
  33. 1 point
    Your coffee depletion aside, coming from you that comment to me is high praise. Printing that one out and putting in the refrigerator!!! Glad I could help. Dave
  34. 1 point
    Brilliant I shoulda thought of that, but obviously had early morning brain-fog CBR
  35. 1 point
    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!
  36. 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
  37. 1 point
    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
  38. 1 point
  39. 1 point
  40. 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
  41. 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
  42. 1 point
    I picked up Redshift from that sale.
  43. 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
  44. 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
  45. 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
  46. 1 point
    Er... you might wanna read that first post again CBR
  47. 1 point
    ...small "videohelp" using snapping tools (maybe solve your both questions) https://www.dropbox.com/s/0jg4ytvrcafhcgs/snapping.mp4?dl=0
  48. 1 point
    Together with snapping and coordinate manager you can scale slection to value of any point of mesh not just to center of selection... https://www.dropbox.com/s/pua6oyselo9urjd/scale2selected.mp4?dl=0
  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
  50. 1 point
    This forum is for those with work available. It is not a forum for freelancer's to advertise themselves (change in policy Jan 2011) Those posting work available Give as much information as you can. Best to provide an email contact address in your post. Suggestions for those looking for work Get yourself your own web site with a gallery, bio and contact details. Post your best work at your site. Having a professional looking site will help you look more professional. If you're an animator put together a demo reel no longer than about 2 minutes. Apart from the glamour jobs like modelling and animating there's plenty of other areas to specialise in. e.g. texturing, lighting, compositing etc You don't have to change to Maya or 3DMax or anything else to get work. Talent and skill and getting the job done on time are really important. Skills learnt in Cinema 4D will be useful in any application. If you're just starting out with 3D and plan on a career in 3D, you should contemplate getting professional training / attend a recognised institution. The main thing to realise is getting good at 3D takes time, a lot of time!! Lastly if you are quoting on a job or offering to do a job, don't take on a job that you don't have the skills for. We see this all the time where a member has bitten off more than they can chew and then require urgent help in the forums. Good luck p.s. Topics in this forum will be deleted once they are more than a couple of weeks old. There is little point in keeping a job advert that's 3 or more months old.
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