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  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 All these systems feel outdated but served the purpose.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
    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
    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!
  15. 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
  16. 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
  17. 2 points
    I picked up Redshift from that sale.
  18. 2 points
    Let it be me https://www.behance.net/ambiclusion https://vimeo.com/ambiclusion https://www.instagram.com/ambiclusion
  19. 1 point
  20. 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
  21. 1 point
    I see, thank you all for your answers, this properly answers my questions. I've never up-scaled anything before so I wasn't sure of its limitations.
  22. 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.
  23. 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.
  24. 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
  25. 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.
  26. 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
  27. 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
  28. 1 point
    Brilliant I shoulda thought of that, but obviously had early morning brain-fog CBR
  29. 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
  30. 1 point
  31. 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
  32. 1 point
    You can either start with splines which you have created manually in the correct shapes for the letters, and then drop those under an Extrude Object, or you can use a regular font (either in the same setup as above or using MoText), and then distort its splines using the various deformers in Cinema (see manual)... OR you can distort the moText Object directly, like I have done here with an FFD deformer. CBR
  33. 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
  34. 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
  35. 1 point
    Ever wanted to snap to the arrowheads of a Measure Object? Well, now you can using this script I wrote, which creates Null objects as children of a Measure Object and positions them at its arrowheads' tips (that can then be snapped to using Axis Snap). Use the Script Manager to copy this script in, name it, save it, and perhaps create a toolbar button for it if it's something you will use often. If you come up with reasonable suggestions for enhancement of this script or find any bugs, please feel free to provide the details in a reply to this post and I will consider implementing/fixing them. Important note: The Measure Object has to be part of the Object Hierarchy and selected. You can add it to the Object Hierarchy by clicking on the Create Object button after creating the measurement points using the Measure & Construction tool. Also, you can run the script multiple times for the same Measure Object, after changing its points coordinates, in order to get new Null object children to be created at the modified point locations (the positions of existing Null children of the Measure Object will not auto-refresh if the Measure Object's points get modified. This allows for the recording of historic positions of the Measure object's arrowhead points by running the script each time a change is made to the Measure Object's measurement arrows): nulls_on_measure_object_arrowheads.py import c4d import c4d.gui # Functionality Provided: # Creates nulls at active Measure Object's arrowhead points. Can be used to allow "Axis Snap" at those points. # The colors of the nulls will correspond with the (current) colors of the arrows, for clarity. # The script is written in a "professional" manner (i.e., not as the sort of hack you oft see posted) and contains # proper comments describing what various code does. # Also, supports proper Undo functionality, like the existing Core C4D tools # Create a null object at one of the measure object's arrowheads def create_null_at_measure_point(measure_obj,null_name,null_pos,color): # Create the null null_obj=c4d.BaseObject(c4d.Onull) # Set various attributes of the null null_obj.SetName(null_name) null_obj.SetAbsPos(null_pos) null_obj[c4d.NULLOBJECT_DISPLAY]=c4d.NULLOBJECT_DISPLAY_POINT # Use "locator" null object shape null_obj[c4d.ID_BASEOBJECT_USECOLOR]=1 # Automatic null_obj[c4d.ID_BASEOBJECT_COLOR]=color # Get from measure # Let's add the new null object as the last child of the Measure Object # Get the last child of the Measure (if any children are present), otherwise will be set to None last_child_obj_of_measure=measure_obj.GetDownLast() # Add the null object to the Object Hierarchy as the last child of the Measure Object # Note: Setting checknames to True will cause C4D to add a .1, .2, etc., suffix if there is a name collision doc.InsertObject(null_obj,measure_obj,pred=last_child_obj_of_measure,checknames=True) # Needs to be called after creation (and insertion into the document, thanks to C4D Cafe user # MighT for pointing out the UNDO step sequencing with regard to document insertion) doc.AddUndo(c4d.UNDOTYPE_NEW, null_obj) # Entry point into script def main(): # Make sure that there is an active object and that it is a Measure Object if op is not None and op.GetType()==c4d.ID_MEASURE_OBJECT: point1_pos=op[c4d.MDATA_MEASURE_PNT1_VECTOR] # Unused, for now # Start Undoable action doc.StartUndo() # If point 2 is in "World Mode" # BTW: World mode is MDATA_MEASURE_PNT_MODE_FREE (who would have thunk it?!) if op[c4d.MDATA_MEASURE_PNT1_MODE]==c4d.MDATA_MEASURE_PNT_MODE_FREE: # Create a locator null at its arrowhead's tip create_null_at_measure_point( op, null_name="Second point tip", null_pos=op[c4d.MDATA_MEASURE_PNT2_VECTOR], color=op[c4d.MDATA_MEASURE_COLOR1]) # Use color of second point, that's how C4D has them numbered (COLOR1 is for point 2) # Is a third point present (and in "World Mode?") if op[c4d.MDATA_MEASURE_3RD_POINT] and op[c4d.MDATA_MEASURE_PNT2_MODE]==c4d.MDATA_MEASURE_PNT_MODE_FREE: # Throw a locator null on that puppy, too create_null_at_measure_point( op, null_name="Third point tip", null_pos=op[c4d.MDATA_MEASURE_PNT3_VECTOR], color=op[c4d.MDATA_MEASURE_COLOR2]) # Use color of third point, yes COLOR2 is the color of the third point # Done (with proper undo handling) doc.EndUndo() # Trigger UI refresh/repaint c4d.EventAdd() else: c4d.gui.MessageDialog('Please make sure that a Measure Object is the current active selection, before running this script.') # Execute main() if __name__=='__main__': main()
  36. 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!
  37. 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.
  38. 1 point
    You are welcome. Now...let me confuse you some more. Do not be intimidated by X-Particles. I can understand your reluctance to get X-Particles because it is just a massively huge program only because it does so much: particles, fluids, smoke, cloth, volume breaking, volume rendering, grains, dynamics and multi-physics where one physical simulation affects another simulation (like a stream of water hitting a blanket and the cloth simulation on the blanket reacts to the fluid simulation and the fluid simulation in turn reacts to the cloth simulation). On the plus side, XP is very modular. You don't need to learn EVERY part of the program and can easily get amazing smoke effects with just as much ease as you could get from TFD. The only advantage of TFD is that it has its own build in renderer whereas XP really works best with Cycles 4D if you are looking for volumetric rendering. BUT....you have Redshift which is a much better and faster render engine than Cycles 4D and it can do volume rendering as well. Now, XP is almost twice the cost of TFD ($769 USD vs $469 USD) but that additional $300 gets you about 5 more simulation packages (fluids, grains, cloth, volume breaking, and particles) which all work together! Now, you do have to pay an annual maintenance, but XP just keeps growing! I would be hard pressed to find any current XP user who does not feel that they are getting their money's worth from their maintenance plan. Now let's talk about XP training. Bob Walmsley is a tremendous teacher. He is the Hrvoje of Insydium. Clear, concise and he takes you through all the traps and pitfalls that you may encounter when using the program ("So why did nothing happen?") and then explains how to get the program to do what you wanted it to do, why it didn't work the first time and the logic behind it all (which is the most important part). His teaching just sticks. Hear it once and you get it immediately. In fact, I do most of my learning watching one of his tutorials while on the exercise bike. I don't have C4D open...I just listen and it all sticks! He's that good! I have and love TFD....but I got it long before XP ever came out. I am glad I have both as TFD is great to use if you need to add something quick without too much fuss. Now if you want to do something truly amazing, you need to get XP. Almost as powerful as Houdini and infinitely easier and more fun to use. Dave
  39. 1 point
    Sale extended 9 hours... (Sale must end 5PM PDT)
  40. 1 point
    Yes that is very much not the answer here. We don't want all those different unconnected pieces. I can give you my scene of course, but it won't show you how it was done... CurvyObject cbr.c4d Fortunately, these little videos I have made you does show the 'how' bit... First, fixing the model (optional) and then the UV bit... CBR
  41. 1 point
    UV´s are dependent sometimes on image what you want to apply on it (if it´s not some painted. Or where you want cut UV´s, where can be seam etc...
  42. 1 point
    This is what we need to cut during the relax stage for distortion free results whilst also preserving the contiguous front>rim mapping. The small amount of distortion remaining here is not UV distortion - it's SDS boundary distortion, combined with (forgive me) a rather sloppily modelled object where distances between rim / bevel polys are a bit too inconsistent. I would have to alter the geo to correct this, so haven't done so here. CBR
  43. 1 point
    This is one way, in which we map the backside as a separate island but wrap the front contiguously with the rim... The disadvantage here is obviously the distortion at both ends of the wrapped section because we haven't allowed the corners to separate there, but it may be more what you want than other methods... OR we can project front, back and rim as separate islands, where there will be zero distortion, but obviously no continuity between front, back and rim... I will show you perhaps the ideal compromise in the next post... CBR
  44. 1 point
    Here's a tutorial that some joker made a few years ago. This may help.
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