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Showing content with the highest reputation since 05/21/2020 in all areas

  1. 7 points
    Hi guys! My 2 cents on the topic: https://pbs.twimg.com/media/EMfgEuGXkAIr0tj?format=jpg&name=900x900 Besides the jokes, I think Cinema 4D is one of the greatest software that I have used and now is affordable even for my location. When I open Blender, all the navigation and stuff make me feel I got into LADA car (it is old soviet cars)it can drive you in every place but in the most uncomfortable way, when I use Maya, I feel like I am driving Alpha Romeo - beautiful but it breaks every 10 km., when I use 3Ds Max (my first 3d app) I am feeling I am in a tank - I have 2 handles for everything, when I use Houdini...well like I am in CERN, I am accelerating particles to make a cube, and I accidentally make a hypertorus packed with monkeys, which are consumed by the black hole that also accidentally appeared...I end up making the cube with real paper from the garbage in the post apocalypse world that I have created. when I use Nuke - I am using BMW, cool but too expensive and in the winter you don't go out with it... and when I use Cinema 4D - I am in a AUDI! Feels good and takes you where you want to go! The grass is not always greener on the other side!
  2. 3 points
    Yea to be honest I wouldn't use either of the techniques you provided examples of above flat surface or not, mainly because they're ugly:) one would prefer a nice quad patch like the example @Cerbera provided:D
  3. 2 points
    Hi all, Some of you may know the aaOcean plugin - for ocean / sea surface creation. It's been available for a while, but broke with the R21 update. I'm pleased to say that, due to the voluntary work of Kent Barber, it's been updated for R21 / S22 on both Windows and MacOS. I've also expanded the minimal documentation that was available. Sorry for the slightly convoluted links - but if you visit: http://vantagegraphics.co.uk/aaocean you'll find links to the plugin itself - and for the updated documentation file. Hope you enjoy it.
  4. 2 points
    Hi. Here is one way to do it. 1: Make plane primitive then place it to top of bottle cap. 2-3-4: Select and Extrude the edges twice down to fit close to bottle. 5: Use Loop Path Cut to add polygons for even distribution (square polygons. 6: Make a selection set at ends to use with shrink wrap. 7: Add shrink Wrap deformer and drag n drop selection set into falloff. This will only then effect polygon selection area. 8: Add cloth surface tag (if you cant find it press shift + c to bring up command and type in cloth) Add thickness and turn on bulge if required. bottle with safety lid tab.c4d
  5. 2 points
    One of the tasks that is deceptively harder than it looks is determining the pattern of the spikes on the sphere itself. If you notice, they form a repeating pentagram (5 sides) around the surface. You can't use a normal sphere's polygons to guide you because all sphere primitives follow either a 4 or 6 sided polygonal pattern. One thing to consider is to use a platonic dodecahedron placed within the sphere (turn X-ray on) as a guide on where to place your spikes. Just a thought. Dave
  6. 2 points
    Not surprised you are struggling - this looks like quite a simple modelling proposition, but actually isn't. In fact to model this as a single mesh would require a relatively wide range and knowledge of assorted modelling techniques, but as the spikes are separate objects in the real world, that is how we should model them as well, which certainly makes things easier. So, with that said there are 2 main parts to this - modelling the hatch in the main shell, which you should do based on one of the polar sections of a standard sphere. And the spikes, which you can clone on to the surface of a helper sphere object if you can find one with the right distribution of points, and then adjust the Z position of those to better match your mine. As for how to achieve the curvature on the bases, that is best done right at the start of their creation (which should begin with a disc object) using subdivision and deformers, either double bend objects at 90 degree offsets from each other, or maybe an FFD or even something like the wrap deformer with suitable settings... or you could even project your disc onto the sphere. CBR
  7. 2 points
    Hello all, I had a plugin to create studio backdrops that ceased to work, so I made my own. You can get it for free here : https://www.dropbox.com/s/m12a5u23b6x67l0/BazStudioScenes.c4d?dl=0 Might not be perfect but it works, enjoy !
  8. 2 points
    First of all the top of this cylinder is flat - fully planar, so it doesn't matter if there are triangles or complex poles, even under subdivision. There is no functional difference between the 2 quad options you have shown - they are all kite quads at the centre, and either is an equally acceptable solution for quads on a planar surface. However, both of these ways are rubbish under subdivision on a curved surface - in that case neither will do because you can't be having the complex pole that remains at the very centre, which will result in artefacting during render. In that case then this is the answer for quad solving - it can cope with curving in any direction, and has not a single complex pole anywhere ... CBR
  9. 2 points
    that meme made me spit out my beer
  10. 2 points
    No no you misunderstand me - it was you saying you were a beginner that made me think you wouldn't be on the beta team ! Anyway, thank you for checking out the posting advice, and changing your profile. As @DasFrodo says, if you can attach a scene file that is the best and fastest way to show us your problems, because our answers depend on understanding your whole setup, so we need to see it... CBR
  11. 1 point
    maybe inverted normals, breaked phong shading or disconnected polygons...
  12. 1 point
    More work with the Aston Martin.
  13. 1 point
    that's great. I never thought about CMYK vs RGB as being a cause!!! You've been super heplful!
  14. 1 point
    The strength field is not limited. You will get the same trouble if you switch the widget in the Attribute Manager to Float Slider. You can get around that by defining a User Data float slider with sensible limits (e.g. -100 ... 100), use Set Driver / Set Driven to create an XPresso connection, and drag that field to the HUD. AFAIK you cannot change the limits of a built-in slider directly. (You CAN but only if you manipulate the GUI definition files... rather don't.)
  15. 1 point
    Hi Cerbera, Wow thanks for all your detailed advice! I'll be sure to research the topics you have mentioned, especially edge flow as I often find myself stuck when modelling with no choices left but to resolve mesh issues by adding triangles. I read that having a good edge flow on a model will prevent you from having to do this so perhaps I will practice this technique on a simpler model just so I get the hang of it. Also interesting about the disc primitives and FFD deformer which is a new way to approach this that I hadn't thought of. And totally agree with you on doing a model second time round. I find myself remodelling things over and over as I sort of feel the model isn't quite right and am always surprised at how much better the results are each time just by approaching it with a different method. Thanks again for your tips on this!
  16. 1 point
    Is there any specific reason why you wanted it to be on a green background? Were you wanting to key out the green? If so, there is no need to do that. You can render out the image with an alpha channel. I do this often. Just render it as a PNG and make sure alpha is enabled. See attached images for how to do that.
  17. 1 point
    Hey guys what's up, been out for quite a while, thought i'd ease back in by revamping an old model from a few years back, very early stages just playing with materials and lighting, some remodelling has been done already and i'd imagine more will come. I'll also include a shot of the old one for comparison (click for a close up :D)
  18. 1 point
    On a quick break, so just popped back to say that once you have extruded your ridges (just needs a single extrude) you can use Normal Scale (as different from the regular scale tool) to slightly shrink the extruded polys all at once which will give you slightly nicer rounding and finish to them. CBR
  19. 1 point
    I can give you the brief strategy / overview, but unfortunately do not have time to explain in great detail at the moment. Th best result will be achieved via regular SDS poly modelling, starting with Lathe with the same amount of radial segments as there are ridges in your bottle, then making it almost immediately editable, and manually extruding the ridges from there... this way they will follow the curves of your topology when used with Subdivision. CBR
  20. 1 point
    Heres a version where I have animated the damping to 100% after the last domino falls. for a complete stop you could also animate the dynamics timescale to zero in the project prefs. in a bit of a rush at the mo so no time for a greater explanation. Deck domino rally3.c4d
  21. 1 point
    No sculpting doesn't support edge weighting, so that needs to be baked in before you sculpt it by making the SDS editable first. THAT then goes under sculpting. CBR
  22. 1 point
    Have you tried UV mapping the sphere? If you UV map it, and relax it, the texture should be even across the entire surface.
  23. 1 point
    Vray and the standard C4D renderer are not compatible. If you try to render Vray materials on a model using the standard renderer, it will often show up as orange. If you don't want to use Vray, you will have to go through the model and replace all of the Vray materials with the standard materials. The reason why the render looks washed out is because there are no lights in the scene. Whoever put that file together did not include the lighting setup that it shown in the renders (the sunlight). If you go into the Vray settings, in the environment tab, you'll notice that it is set to a light blue color (see attached image). This means that a light shade of blue will be applied globally. That is the only light being emitted in the scene. This is why your image is washed out. Normally the environment is set to black. If you want to render a sunset type image, you'll need to add a Physical Sun + Sky object and make the proper adjustments to it.
  24. 1 point
    @Cerbera thank you a tonne for your prompt advice! It has helped me an absolute tonne! And, you are certainly right about it being deceptive in how simple looking it appears. I thought it was going to be a walk in the park, but through unpacking the advice you gave me it will certainly be a longer project. But--hey--challenges are good. Thanks a million.
  25. 1 point
    Hi! The only thing I notice is with v6 that it is faster but not better. And I still get artifacts with detailed shots when working in 2k or higher. Sometimes i get better results with the native Force Motion Blur
  26. 1 point
    I see! That's really interesting. Thanks so much!
  27. 1 point
    Probably to do with your old version of the software. Our FBX import started getting good somewhere around R19. CBR
  28. 1 point
    Thank you! Hope to see some new work from you soon too.
  29. 1 point
    Looking good bro! Glad to see you're still going with these
  30. 1 point
    Ok I can help you with this in more detail. In this case I started with selecting a row of polygons (wider than you need them) But you can select a much narrower area which will help in what your after. I will record you a short video as there are a few things that would take a while to type and that's controlling the clumps (see how you get on with the following first). The scale of the object your making hair on maks a whole lot of difference for a easier time stick to real world scale. I made hair from the polygon selection and used the move tool to pull out its length closer to the plane. I made sure on the plane is the hair collider tag. I make sure I can see hair in the view port in the editor tab from the hair object using hairlines. The hair and guide segments needs to be enough for smooth hair, the longer the more segments needed. I then ue the relax button in the dynamics to drape the hair to the plane. You can increase the radius (sur rad) in the dynamics properties if the hair goes through the mesh. With the move brush I move the hair into position also using the smooth mode to smooth it out. The rest comes down to the hair material. The order deal with the hair material is as follows. 1: Thickness. I set it anywhere from 0.05 to 0.5 2: Specular is way too high so I bring this right down to about 10%, this helps with preview. 3: I change colour making roots darker and atta colour to tint to offer variation. 4: Clump (cover this in video) 5: Frizz. I reverse the curve often giving more frizz to roots rather than tips, this helps with intersections. Dan
  31. 1 point
    Look for the script log in the Extensions menu; all your actions are recorded there. You just need to clean up a little, like removing the call for the script log which is also logged
  32. 1 point
    Thank you for your answer, I followed your advice and contacted one of the administrators of the server. Now I just have to wait for his response. I thought about that before and deleted the cache of the browser and also followed your advice with the incognito mode but unfortunately it didn't work. Anyhow thank you for your advice!
  33. 1 point
  34. 1 point
    Funnily enough I am also on a client job at the moment in which I am forced to use Boolean Operations, but unlike you, I can't go back for better STEP reference I am getting things to work with a rather assorted variety of tricks and bedevilment, some of which seem to have no reason behind them whatsoever, yet *touch wood*, I do find myself winning most of the boolean battles I face. In short my top boole tips are: Do anything you can to avoid using them at all. But if it is unavoidable... Aim for a solid boole first, so you get the inside of say carved lettering, but if that is not possible, for example if one of your source meshes is open, then still do the boole, but you will only get an intersection, and have to model indents yourself from that outline, which is still helpful. Make sure the mesh you are cutting into has regular, even distribution of polygons and enough density. Always break the phong shading along intersection lines If things go invisible... Move the source geo slightly. Move the other mesh slightly. Change the interpolation in any spline based geo to uniform / natural, and vary subsegment numbers Have all the options in the boole object ticked to start with... If that fails, turn off HQ, but then set and use proper phong edge breaks. Better to turn HQ back on, and instead change the topology of the source meshes until it doesn't fail any more. This can be as easy as sliding 1 vertex or as complex as re-topologising an entire section, but if you are patient you WILL find something that works... Spin edges to avoid counter-flow junctions and complex poles. But not if it's animated booleans. That sh1t is just not predictable or reliable and there's really not much we can do other than find another way CBR
  35. 1 point
    Oh yeah, you would have to set the cloth belt again at the new position to fix that... CBR
  36. 1 point
    Thanks a lot man !!!! very kind of you. I needed to figure out a way to make it nice and metalic again after what you suggested but I think I made it ! thanksssss !!!
  37. 1 point
    More interior work with Corona renderer.
  38. 1 point
    i agree 100% with this statement and i want to add a litte more. Even if the tools in c4d seem outdated (and in many aspects they are) try to check some making ofs from big anmation studios. Most of the time they are using old versions of maya , some of them are like maya 2012 or similar. Of course they have TD's in their pipeline to solve and implement custom tools but the the core is always something that they rely on instead of the newest release. C4d sometimes behaves like houdini. We can try and mix diferent modules to enhance certain capabilities. That means that we have to create most of our solutions and there are no presets for this kind of stuff. I love to mix mograph in rigging. It's just amazing . But there are even more things that are really good: Pose Morph tools are super powerfull in the rigging process and really worth it to explore.
  39. 1 point
    Not sure why but as son as you set the generate option to circle, it seems to then require a regular texture on top of hair, whereas when generate is set to none, you still get the expected colour and width from the tag, but no geometry hence the flat bottom of triangle on grab below. I don't know much about hair, so maybe one of the other members might enlighten us both. Deck
  40. 1 point
    Without a scene file or more information we have no idea what you're doing wrong. Consider attaching a (simplified) scene and someone will probably look at it
  41. 1 point
    Z-Depth can be used for different kinds of effects that rely on the depth information. These include but are not limited to DoF (what you already know) and fog effects for example. When you want to add your DoF in Post with Z-Depth you DO NOT use DoF in your final renders. The entire point with Post DoF is that you don't have to invest the additional rendertime to do it properly in the render. It does have it's limitations and does not look as good as "real" DoF, but in many scenes it works just fine. EDIT: You import the Z-Depth into After Effects and apply the Camera Blur effect on your main footage. Then you use the Z-Depth as "Mask".
  42. 1 point
    just uploaded a compilation of all the toon FX setups i've done to vimeo
  43. 1 point
  44. 1 point
  45. 1 point
    If you didn't want AO applying to everything in the scene, and instead were applying to specific objects via a material. CBR
  46. 1 point
  47. 1 point
  48. 1 point
    You just can't beat the Cafe..now if it only could serve Amsterdam ..extras ..
  49. 1 point
    I think you have finish your project already but..just for to know, there's another option....I you have (I think you must have) a subscription to Cinema4D, you automatically have access to cineversity and you can have all their plugin for free. There's one in particular that is designed to create this kind of animation "CV-Dynamic Connector" is very easy to use and you can create this animation very fast I hope this is useful for the future
  50. 1 point
    Hi everyone, I have been developing some new tools to create UDIMs, move UVs from one UDIM/Material to another, and transfer texture from your existing material across to the new UDIMs. Just wondering how many of you out there are actually importing and using UDIMS currently in your workflows, from Mari or Substance etc... and if you would be interested in seeing me continue working on these types of solutions for you. Cheers, Kent
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