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  1. 3 points
    The issue will be fixed in the next service release, which is coming soon. Cheers, Rick
  2. 2 points
    Oh good - the first one of these has arrived. Things may have gone a bit plot-mental, but the force remained strong with the VFX department My favourite bit was when they said... CBR
  3. 2 points
    Hi; sure, that's possible. If you can identify the parts by name (or path... if names are duplicate, it may be necessary to identify them by assembly), a CSV format file can be read into C4D and control the visibility. If your models contain repetitive sub-assemblies, maybe there could even be an interactive solution. A script would be easiest (and cheapest) I guess... Drop me a note if you want to discuss a solution.
  4. 2 points
    Glad someone found it funny ! Thank you for the comments everyone, I'm looking forward to making the next one
  5. 2 points
    Here is the video. give it 5 min to process.
  6. 2 points
    There are a few things to take into account with RS. Upping the Samples Max, or having a higher Passes set will have a bigger impact than if you used the sampling overide and crank up light samples for instance. You can realy push the samples quite high while having the Samples Max lower. If your using v3.0.16 then you may want to try the automatic sampling. When I first got RS I was using Vray. Now Vray was significantly faster than Advanced Renderer but RS was way faster than Vray on a old GTX 780 6gb card. Its of course very scene dependant. A thing that I was doing at the start was using C4D own SDS tag where I should have been using RS object tag to do this job. RS is very efficient with Displacements due to its auto bump mapping which is on by default, this saves loads of time. Maybe you can post your comparison up, show the RS settings. Dan
  7. 2 points
    What do you mean by that? The idea I had was to use the tool to select a set of polygons to be copied. The you could select polygons on the same mesh, or other mesh, to paste the copied polygons to. But I would go further, and allow to "store" more than one source. You could copy and store up to 5 sources, and paste any of them on any mesh. I wouldn't go futher than this, otherwise I would just be copying the PolyGnome plugin. This PolyDup plugin (while using the idea behind PolyGnome) is just meant to quickly select polygons and copy them. So, the user wouldn't have to bother with the steps to create assets (or presets) from these selected polygons. Just select polygons, use the tool to indicate these are the source, select other polygons and indicate these are the targets ... and the source gets copied to the targets.
  8. 2 points
    WIP with a silent character. Had to be stylised and simple to fit the budget. I used a prerigged puppet and bound boolean splines with a posemorph for expression to the head. Tweaked the deformed splines to match the curve of the head with a FFD object. Simple xpresso to connect the sliders to the morphs.
  9. 2 points
    Dear fellow C4D users! We are super happy to announce that our big update version 1.1 is available now for all. for our existing customers of course as a free update! The v1.1 update comes with a totally redesigned new and simpler to use GUI /user interface, and many new powerful features, based on your feedback, and several fixes. Some excerpt of the new feature List: –New streamlined GUI, with coloured “tabs”, that reflect the usual “1-2-3-4” setup work flow. new and improved drawing, new shape mirror and scale options -new axis tool, axis rotation tool to define texture directions, and axis few mode -new selection, box select and brush selection tools -new shape subdivision tools -new shape instances feature assign colour, randomize colour, randomize text ID, now can work be limited to selections –new shape instances feature, and new instance view mode new optimize command to automatic remove all double/overlaying shapes in one click -new “manage library” button replacing the old load and save buttons. -adjustable preview size of shape pre-sets -and its window -new shader pre-set library feature- -new Tex direction modes menu, to define the direction of textures in relation to the new axis -new flip modes, flip u, flip v, flip u & v, with % setting how many & of the textures affected by it. -new use seamless texture mode: it allows random offset, also if the shape scale is at 1 or lower -new “generate seamless tiling” option to use a “pseudo randomness” on the border to generate seamless shader or baking results.also if the shader not covers all of the object. Q-TILE-PRO makes sure it will be always seamless automatic, regardless if the mapping covers all surface in one tile or not. new round corner feature (separate from edge rounding, as many wished) new layer transparency via texture (alpha mask per layer) we also started a new You Tube Channel/Playlist for Q-TILE-PRO, with several new videos for learning: https://www.youtube.com/playlist… please subscribe to our new INFO CHANNEL:) we hope you like our new Q-TILE-PRO version as much as we do! Stefan Laub & The Qucumber.at | Q-TILE-PRO team! https://3dtools.info/q-tile-pro/
  10. 2 points
    Ha! Yep - sounds like work in almost every industry! Big companies are bureaucratic. Sociopaths and self promoters get to wield the power. But hey, I’d rather be doing this than working down a coal mine
  11. 1 point
    Hi everyone, I'm a french fine art student and I'm currently learning 3D modeling. I've previously used sketchup and used it mainly for 3D mechanical models but now as I work on a project involving some details and anatomic human organs, I need to go further; I decided to use C4D, advised by a friend of mine, but the logics and workflows are really different from my previous experiences. As I try to learn by myself and to get the informations through the existing forums, I regularly found this forum and got useful informations. But, now it is time to enter in the arena because I'm too much struggling with my models. Here is a short description of my current state. I'm looking to mastering more this software and being able to be skilled enough to finalize my own designs. Have a great day!
  12. 1 point
    Hi, everyone! This is Ru voice tutorial, but ENG and other captions included. In this tutorial, I’ll show you how: → to create Ornatrix Hair from a preset in Cinema 4D → to create realistic wool. → to enable the display of real-time wool with shadows and AO in Viewport using special material and the MeshFromStrands modifier. → to render the first WIP in Redshift IPR. Video Content: 0:00 - Greetings. The theme of the lesson. 0:27 - What is Ornatrix for Cinema4D? 1:07 - What to do while waiting for the next parts? What to watch? Recommendations. 1:49 - What is the difference between Ornatrix for Cinema 4D? 2:18 - About the new principle of Ornatrix tutorial series creation. 3:04 - First steps. How to create an Ornatrix object from a preset? 4:16 - Getting started to creating wool. Creating a basic mesh. 6:18 - How to enable a Real-time display of wool or hair in Viewport? 7:05 - Management of the number of hairs in HairFromGuides. 7:52 - How to remove incomprehensible bugs in the normals of the Ornatrix object. 8:04 - Creating a light source for viewport lighting. 8:44 - If you have a weak video card. What to do? 8:56 - How to remove visible spaces in some parts of the wool using Barycentric Interpolation - Manual Interpolation? 9:45 - Using Surface Comb modifier. Add Sink Tool. Editing Slope Ramp. How to make a sharper transition between points? 11:46 - Edit Sinks button. 12:49 - Strand Detail modifier. 13:00 - Curl modifier. 13:36 - Clump and Sub-Clump. Add Clump Index Channel. Region Channel. Clump Count and Clump Creation method. 15:56 - Length modifier. 16:08 - Frizz Modifier. Preserve Strand Length. Length Dependent. Outliner Fraction and Amount. Group Channel or how to apply this modifier to a specific Clump group? 18:47 - Redshift Light. 19:21 - Redshift Hair Material 19:50 - Test render in Redshift IPR. 20:19 - What will the next lessons be about? 20:29 - Forrender Renderfarm 20:36 - The promotional code for using the 15% lifetime discount on our render farm. 20:40 - Info partners 20:42 - The ending and previews of other lessons. Enjoy watching! Best regards, Andrew Krivulya aka Charly.
  13. 1 point
    Hi all! My name is Andrew Krivulya and I'm 3D Generalist I'm 29 years old. My working XP - 9 years (6 years outsourcing). In my spare time - I create 3d tutorials for my Youtube Channel -> https://www.youtube.com/AndrewKrivulya and started to create C4D tutorials recently. You can check my portfolio here -> https://www.artstation.com/artofcharly Here are some articles with me: - Interview for ChaosGroup blog(2019) - https://goo.gl/SNtN21 - 3D Total interview(2019) - https://bit.ly/2L8fvDD - 80lv interview (2019) - https://goo.gl/DqqW9t - Interview for Corona Renderer blog - http://bit.ly/2oKiB6v - 80lv interview (2017) - http://bit.ly/2H7kvor - 80lv guide - https://goo.gl/Npec4o - CGTrader Interview: Charly And His Freelance Road To Success - http://bit.ly/2FwjXv4 - Render.ru interview - https://bit.ly/2GJQivR - Wacom Ukraine coupons 2018 - http://bit.ly/2FxgKLY - 3D Artist Magazine. Issue 96 - 3D Artist Magazine. Issue 114 - Render.ru magazine. February Issue 2018 - Render.ru magazine. September Issue 2018. - Render.ru magazine. December Issue 2018 - Render.ru magazine. March 2019 - Render.ru magazine. August 2019 Thank you. Best regards, Andrew.
  14. 1 point
    Your profile says you're a generalist, but all I see on the portfolio is hair! Anyways, welcome!
  15. 1 point
    Hi, everyone! This is RU voice + Eng and other captions tutorial. In this video we will talk: - about creating a rocky landscape in World Creator using different settings and filters, - about its texturing using procedural textures, - About exporting color and displacement map, - About importing this landscape into Cinema4D and rendering into Arnold Render 6 GPU. I also: - will teach you to imitate a light haze or fog, - will show how to do easy post-processing in Photoshop to get a more voluminous and atmospheric image. Video content: 0:00 - Greetings. The theme of the lesson. 0:32 - Creating a basic landscape in World Creator 2. 1:31 - Using filters to create rocky terrain. Rocky Plateaus. Angled Erosion. Talus Simulation. Rugged. Sediment complex. 5:31 - Procedural landscape texturing in World Creator 2. 12:57 - Export the desired texture in Cinema4D 14:22 - Basic Arnold Render 6 GPU Settings 16:11 - Creating Plane and setting up Arnold Sky 16:41 - Arnold Parameters Tag 17:19 - Adding a Displacement Map to Arnold Standard Surface 18:40 - Creating a preview-mesh in order to see displacement in the viewport. 20:16 - Arnold Render Fog 22:02 - Procedural Fog with Cinema 4D Noise. 24:22 - Changing the FOG color and setting the Bounds Padding parameter. 26:18 - Post-processing in Photoshop. Checking the composition using a Threshold. 29:04 - Forrender Renderfarm 29:12 - The promotional code for using the 15% lifetime discount on our render farm. 29:15 - Info partners 29:18 - The ending and previews of other lessons. Enjoy watching! Best regards, Andrew Krivulya aka Charly.
  16. 1 point
  17. 1 point
    This is not so hard to sort out - I had hoped you could adapt the technique from the 4-way vault to make your 8-way, but I can show you if you're still struggling.. Just not today - my 3D PC is being replaced, so is down for now... but I do have this I made earlier - a 6-way vault like in your idea above... Hopefully you can see how this was made, but the principal stages are: Build the end of 1 arch, 1 polygon wide Extrude that (with caps) all the way back to the opposite arch end. Knife tool (line cut with angle snap) to cut through entire mesh at suitable angle from half way point to edge Delete half the mesh and put under array to get remaining sections Put that under a connect object, and group that with a bevel deformer in chamfer mode to get the nice edges. CBR
  18. 1 point
    Good stuff man I've seen you loops all over Twitter and Facebook these past few months
  19. 1 point
    Using Cinema 4D I show you how to take an moving character from C4D into Unreal Engine 4.24 and Dynamicly add grooming hair to our character to run in realtime.
  20. 1 point
    Love it! You have such a soothing voice too, great to listen to. Also big plus for using Windows
  21. 1 point
    Thanks for posting. I agree, and have reported that for you... hopefully we will get that sorted. CBR
  22. 1 point
    Yes, this is what I have been looking for!! Amazing! Never heard of Spline Wrap before but I'm still new to Cinema. But this looks like it might just work for me. Since I have 15 of those little maggots and by the end of the animation there are supposed to be at least triple, it's also a good idea to animate it along splines. So when we need to adjust something to the music it's easier to slow things down or have them go another way. I will now study this spline wrap. It might also be nice not to deal with IK dynamics. This community here is so quick and helpful, it's awesome. I hope I get to the level where at some point I can help others.
  23. 1 point
    Cerbera, THANK YOU. The camera issue was driving me nuts too so not only did you solve my main problem, you solved another one that I didnt even mention. I have no clue how I even had this custom layout - it must have been an accident. Either way, I REALLY appreciate your help. This is my first post on C4D Cafe and Im really impressed with how fast this was answered. You guys rock Cheers!
  24. 1 point
    maybe not related to this behaviour... But what I remember (week or two ago, maybe more) when I was logged into my account, I got some message about "your profile is completed etc..." and was opened my profile window. I was simply close it and continue in work, but I´m not sure if this notification about new device login start at that time or not...
  25. 1 point
    Fair enough - I just remember all those setups you post with rigid bodies and connectors CBR
  26. 1 point
    news flash young lady if you work in any industry you ARE A COG IN THE MACHINE, it is their goal to make money some are less brutal about it, but nonetheless, generally speaking,you don't really matter in their grand scheme. most recruiters or interviewers will not let you in on the dirty side of work. you mention doctors, lawyers and such. entry level they get the sh** hours and jobs. so get over it and welcome to the real work-a-day world. if you don't like it go free lance then you are your own boss.
  27. 1 point
    Ok, this is gonna be tricky to solve. The following is true about your scene. - The cloth part has no real world thickness, which may confuse the collision calculations... - Your Connectors ONLY connect the objects, but don't otherwise instruct them to avoid each other. or not intersect. - The movement of the rigid body is quite extreme, in that it twists and turns a lot, which dynamics tends to struggle with. Those things together combine to give you a setup in which you get the result you get ! I will have to have a think about the best way to avoid this, so will do that and get back to you. Dynamics aren't really my thing though, so will be most pleased if one of our dynamic experts like @jed could come along and find the answer quicker CBR
  28. 1 point
    Thanks man! What you said is something i figured after a decent amount of time spent searching and trying several methods. Everything broke the rig, so what i remodeled the shoes to fit the initial foot modeled, and then binded the shoes to the rig again. Thank you very much
  29. 1 point
    Yes, indeed! I've been working in this tool for 3 months in my spare time ! Thank you very much @Igor ! Thank you, @bezo ! Yes! Although I don't know much about organic/character modeling/UVing, but it works very well: Thank you @C4DS! I've saw your plugins, I'm really happy I'm not the only one trying to develop tools in the area of UVW in C4D, haha! I did this plugin using Python and the API sadly doesn't expose much functions as I think it does in C++... I 'd like to do much more to improve my plugin, I'll probably do in the future as I learn more Python. The program really need to update its tools... let's pray to have something new in R22!
  30. 1 point
    Hello All I am a Drafts person who has been doing a lot of 3D Geometry Modeling for 4+ Years now but want to go into doing mesh/organic modeling and have decided to use C4D in order to begin to get to a point where i can get as good as some of the amazing work i have seen from you guys!, it is a pleasure to be able to be registered to this site and hopefully be able to be engaging and helpful.
  31. 1 point
    Welcome to the cafe We could probably help here. Trouble is - we can't possibly know what is going wrong without the scene file. Pls upload it ! CBR
  32. 1 point
    HI, just wanted to point out to anyone trying to learn the new blender 2.8+ modelling tools, this short and to the point tutorials by this guy; https://www.youtube.com/user/BlenderDiplom/videos
  33. 1 point
    You could use also modeling from sphere... 1, addd hexahedron sphere, rotate it if needed, adjust segment count as needed, convert to polygons 2, delete one half of sphere and with scale create disc, set object to world zero coords. 3, select right side of poly´s and move them with quantizing to the right, ddo the same with selected left side. 4, use extrude with enabled caps 5, with knife in loop mode add support edge loops on extruded edges 6, with disolve command delete few inner edge loops on front and back side. Select front border loop and with slide command in clone mode create support edge loop in front side. Do the same for back side. 7, Add SDS. if needed, select top or bottom part of model and move up/down.
  34. 1 point
    Hi! Thank You for Your answer. You definetely have pointed for the reason why this extrusion is behaving like this. I still don't know where all the points got from. I did again the same procedure and now it suddenly is ok. I wish I knew what is causing this but I am very gratefull for Your answer. Thank You! Piotr
  35. 1 point
    @wesware Wow thanks for this! I'll give it a look later tonight.
  36. 1 point
    Your first spline has 80 points, second one just 10. First spline could have some disconnected segments, but you simply can not find and connect them manually, because 8 points share the same position...
  37. 1 point
    Welcome to the cafe. Please complete your profile to show at minimum what version of the software you are using. CBR
  38. 1 point
    Check your render setings/output and look for render region option. If enabled , simply disable it. (for me it looks like render region overwrite normal render setings)
  39. 1 point
    It´s just vector field interface in User Data... Vector_interface.zip
  40. 1 point
    Hi, There's a few things going on that make the wings intersect. The arc of the keyframes created by signal and the strength setting of the IK bendiness. I took a couple of liberties here because I do not have Signal. I reduced the wing flaps to 3 key frames and then "Repeated" the wave in the timeline. I adjusted the rotational value of the "Front Rig" and "Back Rig" nulls, and altered the strength settings of the IK. You could probably accomplish the same thing using Signal. Hope this helps. https://www.dropbox.com/s/9nc32n1z5826kdu/ButterflyWings-V3.c4d?dl=0
  41. 1 point
    There are several ways of doing this. Here are a few: 1: Xpresso driving offset - Create an Xpresso tag, drag A onto the canvas, click on the red corner of the node and pick the position port from the menu - Drag B onto the canvas and add a position input (blue corner) - Create a constant node, set it to vector and set the offset according to your needs - Create a math node set it to vector and make sure the function is set to "add" - Wire the position of A into the first input of the math node - Wire the output of the constant node into the second input of the math node - Wire the output of the math node into the position input of B - Now B should inherit the position animation of A but with the offset set in the constant node 2. Null driving offset - Create an Xpresso tag, drag A onto the canvas, click on the red corner of the node and pick the position port from the menu - Drag B onto the canvas and add a position input (blue corner) - Wire the position output of A into the position input of B - Create a null object and make object be child of it - Move the null to where you want the animation to happen - Now B should inherit the position animation of A but relative to the position of the null 3. Constraints (no Xpresso) - Create a PSR constraint tag - Go to the PSR tab and drag A into the target slot - Unfold "Offset" and change the XYZ offset - Now B should inherit the position animation of A but with the offset defined in the constraint tag And in case you don't know, you can easily create the basic setup from the context menu. Right-click the parameter you want on the source object (A) and pick "Xpressions -> Set Driver" from the context menu. Do the same on the parameter of your target object but this time pick "Set Driven". An Xpresso tag will be created automatically with the node and ports you need. I suggest to watch a few Xpresso beginner tutorials. Xpresso is old but opens up a lot of possibilities if you are willing to learn it. This is really the most trivial thing it can do.
  42. 1 point
    Please take care to post in the correct section, which is not General Discussions. Moved to Xpresso. CBR
  43. 1 point
    Okay....I am a hobbyist and not in the animation/DCC industry at all. But I do work for an extremely large global corporation that has also topped the list as one of the best places to work in the US and globally. As great as that company is (and it is a great place to work), there are politics where I work. NEWS FLASH: Work politics are EVERYWHERE! In many cases, people misread the "inner circles" that get formed around management as office politics. But in reality, inner circles are natural. "Inner circles" get formed because people naturally gravitate to those who they trust, have worked with in the past and who have proven themselves. No one can succeed alone and we all need help along the way. Those that help you become part of your inner circle. It is pure human nature to have them and not some part of a subversive clique that she makes out. So everyone has them. She just doesn't know how to identify them and navigate them successfully and that has to do with how you manage your career. If you manage you career poorly, then you will find yourself on the outside looking in because you have not become part of other people's "inner circles". So it comes down to how you manage your career. There are people that I mentor where I work and I tell them that every career has 3 main phases: Phase 1: Build your name brand. When people hear your name, how do you want to be thought of? Do you step up when asked? Do you step up without being asked? Do you get things done on time and meet your commitments. Do you focus more on the issue than on the personality (little minds talk about people, big minds talk about the issue). Can you be trusted? Are you kind and polite (that still counts). When you speak up, do you speak with facts or do you speak with emotion. People are more likely to misread emotion than misread facts and misreading emotion can hurt your name brand (in short, better to be quiet if your position is more emotionally driven than fact driven). Do you put the company first or do you put yourself first (trust me - people can spot the difference). Do you have other people's backs? If you can show that you are looking out for others more than just yourself, your name brand grows tremendously. No one get's promoted based on the recommendation of a single person. Usually, it is a peer discussion among the management team. I have been in those discussions trying to get my person promoted and as long as at least one other manager agrees with my assessment, then the promotion goes through. So worry about other teams as well. Build your name brand with integrity and hard work and pretty soon you will be part of other people's inner circles. The more inner circles you belong to, the more opportunity will come your way. Phase 1 requires you to "pay your dues" because it requires years of hard work. No one said it will be easy. Also be patient because no matter where you go, everyone pays their dues. Phase 2: You have paid your dues in Phase 1. You have built a name brand within your company you can be proud of. Now comes the phase when you can trade on that name brand to get where you want to be in your career. With each inner circle you have worked your way into with hard work, your network grows. Use that network to look for and/or ask for opportunity. Remember, you have proven yourself at this point. So now when you ask for what you want in your career, people will listen. But in that discussion, you don't demand. You don't threaten. You ask. The answer may be "no" but accept that answer with grace because doing otherwise would threaten your name brand. If you continue to preserve your name brand in this phase, your opportunity will come. Now, if all you hear is "no" then you must go back to Phase 1. But you may want to restart Phase 1 with another company. That is a tough choice but one that may need to be made. But before you make that decision, ask for honest feedback as to why you keep hearing "no". You could blame others for having to go back to Phase 1. That may make you feel better but it is more destructive than constructive. Better to "own it" --- use the experience, no matter how bad it was, to improve yourself. Experience is a hard teacher and simply blaming others does not help you get the most from a bad experience. Phase 3: Staying Relevant. If you thought Phase 1 and 2 were tough, they are nothing compared to Phase 3. You have built your career to where you want it to be but at some point it is going to stagnate. In Phase 1 and 2, you have developed some level of expertise that the company depends on but over time, things change. That expertise may no longer be relevant or can be obtain cheaper somewhere else. At this point, you may start to wonder about job security because being stagnant is never healthy to anyone. So it is here that must throw yourself completely out of your comfort zone. It can be a completely different role - one that you were not "officially" trained to do. You could also step up once again to take on a BHAG - Big Hairy Audacious Goal. Trust me, no matter what you choose to stay relevant, you will be drinking from the fire hose in this phase. If managed properly, it will be a period of tremendous growth where you prove to yourself and to others that you can do other things. It is also quite liberating once you get through it. But what you have done is proven to others that you are valuable, capable of taking on any assignment -- and therefore, still relevant. Note that throwing yourself out of your comfort zone is not a one time event in Phase 3. It is something you must continually do whenever you feel stagnant in this final phase of your career. So does any of this sound easy? NO! It is NOT easy. Success at any career requires hard work....tons of hard work in fact. That's why they people ask you what do you do for "work". It is called "work" for a reason. To expect anything else is setting yourself up for failure. To get back to this women's video, there is nothing she has said that is not unique to the animation industry or Disney. Even if you become self-employed, unless you are completely free of providing a service for others, there will always be politics and deadlines. So while she pursues her own business, if she has a client, then she is still not working for herself --- she is working for a client. Trust me, the politics of gathering and then working with clients will be no different than what she thinks she is running away from at Disney and building your name brand is more critical when you are self-employed.
  44. 1 point
    In this tutorial I breakdown how I created a LoFi Star Wars themed loopable animation using Cinema 4D, Redshift, After Effects, After Effects, Mixamo, and Boris FX.
  45. 1 point
    To use an alpha mask in a texture, you need to do the following: 1. Create an additional "image" node, and place the alpha texture in there. Then, connect that new image node to the input of the standard shader, and connect it to: Main - Geometry - Cutout Opacity. 2. Right click on your object and add an Arnold Parameter tag and disable the "opaque" option. 3. Click on the material tag and enable, "tiling". You had tiling turned off, and it needs to be enabled. This could be a bug. Not sure. 4. Your alpha texture was inverted vertically. So, I had to open it up in Photoshop and flip it. Make sure all of your textures are oriented correctly. Everything should be good now!
  46. 1 point
    As Ras says, a lot of design sensibility is intrinsic and personal, but there are things to be learned, like the history of art, and general design helpers like the Golden Ratio, concepts like negative space, the Rule of 3rds etc etc. But just as there are Youtube and Vimeo videos that cover nearly all technical and practical uses of Cinema, there are also videos on the basic 'rules' of design, and there are a lot of them ! Here's an interesting one to get you going... But while you are learning all this stuff, it remains more important that you dive in there, and start making what looks good to you and beginning to define the things you like, and the things make your work and style unique to you. Do short, achievable projects, and lots of them, and share your works in progress - other people can be very helpful in letting you know what you could do better, or where to focus your learnings next... CBR
  47. 1 point
    Red Giant is a lot larger than Redshift was and they are very profitable.The value of a company is determined by the value of its assets and the money they make. In both Red Giant is a lot larger than Redshift but not as large as MAXON. This is not a buyout by MAXON like with Redshift but a merger. That means the deal is between the owners of the two companies, not the two companies themself. For that reason neither does MAXON pay for Red Giant, nor does Red Giant get any money. The ownership is changing and the transfer of value is in relation to the value of the new merged company and the way the ownership is split between the parties. Since the Red Giant owners will only own 15% of the combined company in the future, instead of 100% of Red Giant, they are receiving money to compensate. So no, MAXON is not cash strapped at all, on the contrary, we just merged with a company that is not only very good at making software, but also very good at making profits. Please don't spread unfounded rumors.
  48. 1 point
    Alright Union I went through your file, so let's start from scratch here: 1. Draw a linear spline parallel to the floor. Just 2 points, start and end. Make your spline Bezier. Name this "Control Spline" 2. Duplicate that spline, choose the 2 vertices, right click subdivide.Choose again the new vertices and subdivide again and then one more time. 3. Choose all the vertices, go to Character/Convert/Spline to joints. 4. Name the root of this Chain Spline IK. 5. Take the first joint and apply a Spline IK. Use the end joint as the end and the CONTROL SPLINE with the 2 points, as your reference spline. 6. Now go inside the Spline IK tag and press Add & Create twice. No you have 2 handles that will control the curve of that spine. Essentially what they're controlling is the tangents of the bezier curve, 7. Zero out/Freeze the two nulls you created. Inside the tag of each null color them and shape them to taste. 8. Use protection tag on Translation/Scale and all rotation axis apart from P. 9. Now try out that spline curving, and go back inside the IK Spline menu to play with the distances. See my previous picture to pick on the ratio: Head to Tail controlling distance is almost 1/5. 10. Now it's time to create the head and tail joints. I think you know how to do that. Just parent them accordingly (use the image above) 11. Zero out everything 12. Don't bind your mesh until your joints are working as they should . Best VH
  49. 1 point
    fascinating projects keep up the good work
  50. 1 point
    hey just an update after much tearing out of hair over UV mapping in realflow i'm a little closer to a finished shot, here's a low res render from cinema. Slickspillslow-1-1.m4v
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