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Showing content with the highest reputation on 06/26/2017 in all areas

  1. 2 points
    Thought I'd create a new topic for this project for once. I did this sculpt last year as my first Zbrush head sculpture but was never satisfied with the final render. So after moving to a new village and inbetween painting walls and renovating the house I decided to pick up that project to get a more realistic result.. though probably not as realistic as Rectro's females ;) The head I made didn't have good proportions so I hope I did a better job with this one, not really using a lot of reference pics... yeah I know, I should :) Anyway, I'm planning to give him a cap and outfit like in the Peaky Blinders show I think. So far made with Cinema 4D, Zbrush, Substance Painter and this render with Marmoset Toolbag. Texture is half hand painted and half my fathers face :P
  2. 2 points
    Thanks Spiral for your comprehensive insights there - I am learning a lot from you lately :) I will improve the cloth, lose the eyes, and move limbs in so they are part of the main body I think - it's all good points. Also thanks to @DanLSK, @VECTOR, @bobc4d, @ninjad who have convinced me no eyes is better :) CBR
  3. 2 points
    Hello @Cerbera firstly congrats again at a technically brilliant model - without sculpting!!! - it's amazing that you can think through edge flow like this. secondly, an aside - I'm slightly suspicious that there would be a reaper like this in an Elizabethan Manor House - But what the hell , you are remaking it as yours. I only say this because before we talk about the model itself and it's construction, looking and drawing in detail from contemporary sculpture would help enormously in understanding the rules of sculpting in stone IRL. A brief google search for harlaxton shows a couple of intersting pieces. ok - and thirdly (the meat) - so this is an Elizabethan building built in light (or in the shadow) of Italian baroque. You therefore HAVE to look at Benini. He was the greatest at so many things - in particular the core issues of balance, scale and verisimilitude. Since starting to learn poly modelling I've noticed a lot of similarities to stone carving. Largely to do with the kind of planning required in advance, in stone there is also a kind of edge flow to consider. Look at Benini and the ways in which he would incorporate the shape of the body with the overall shape of the sculpture. There are simple cues like the way in which the hand stands apart from the sleeve (which in the baroque would be seamlessly interwoven). Likewise the biggest (literally the biggest) feature of this model is and should be the cloth. The folds, the creases the flows. Benini made solid rock look like it was blowing in a gale and gave it a sense of lightness which is paradoxical with its heaviness. Meanwhile his sculptures still stand beautifully several hundred years later. So my main comment here is to let the cloth (the biggest part) tell most of the story. And since you are in the gothic mode think about how in gothic horror and now-gothic horror the scene and the setup tell more about the imminent mood of what will happen than any dialogue or action. In the neo-gothic mode I think a lot about the film susperia and how you always know what's about to happen based on the patterns in the wall paper (as well as the music and the pace of cutting) so I don't think you need to open up marvellous designer - but I do think that the flow of the cloth should say a lot more about the Atmos of the scene and the figure than it currently does. im breaking the fourthwall to state that I generally assume (with love) that at least 50% of c4d cafe members previously painted games workshop models (I did and i use it as a mental reference throughout most of the c4d work I do) just look at a really good GW model to see how the baroque tropes can be used to emphasise drama. Forget the eyes being the punctum of the model - it's a lie, in sculpture it's all in the cloth and jaw line. (and you are winning with the jaw line) keep up the great work CBR !!!
  4. 1 point
    Selection Tag enables you to use different materials on different parts of the same object. However, Some of the Objects in Cinema 4D has Invisible Selection, That allows as to apply different materials on the object, without creating any Selection Tags. Name of Invisible Selection Should be entered into Selection field of Texture Tag, Invisible Selections - Bool Select Bool Object and enable 'Select Intersections' to create invisible Selection tag named "I", which can be entered into Selection field, and will only bevel the cut edges. Invisible Selections - Generators You can apply different materials to the hull, caps, and rounding. If you want similar materials for both sides, you can duplicate texture tag and change selection input, instead of duplicating entire material. C1 = Start Cap (Cap 1) C2 = End Cap (Cap 2) R1 = Start Rounding (Rounding 1) R2 = End Rounding (Rounding 2) Invisible Selections - Voronoi Fracture If you want to assign different materials to the fragment surfaces and to the overall surface, use Invisible Selections to restrict the materials accordingly (this works without making the Voronoi Fracture object editable). Inside Faces = fragment surfaces Outside Faces = overall surface Also, you can use these Invisible Selections in combination with Bevel Deformer. Edge mode: Surface Break, Edges Edge Vertices Polygon mode: Inside Faces, Outside Faces Point Mode: Inside Vertices, Edge Vertices Invisible Selections - MoText You can apply different materials to the hull, caps, and rounding. To do this you can utilize invisible selections. C1 = Start Cap (Cap 1) C2 = End Cap (Cap 2) R1 = Start Rounding (Rounding 1) R2 = End Rounding (Rounding 2) Invisible Selections - Explosion FX With Explosion FX, you can quickly create and animate explosion effects. It creates 3 Invisible Selection Tags that allows us to restrict different materials to them. C1 = Inside C2 = Outside B1 = Edges You can also set time to 0 and use it as Thickness generator.
  5. 1 point
    Not sure if this has been posted before (I did do a search but could not find anything), but I found a rather interesting trick with the camera crane. I was looking into setting up some animation controls to assist with animating the motions of an airplane in a dog fight: That is, banking and pivoting while following a path. As I was setting up my scene, I also incorporated the camera crane to follow the action and noticed that really the camera crane is no more than an Xpresso tag applied to a camera. So what would happen if you just dragged that camera crane tag to another object? Viola....you now have a set of ready made controls to assist in the animation of that object. Also, the camera crane tag allows you to pivot off axis as well and to animate changes to that pivot of axis as well. So if you want the plane to go from pivoting along the center of the planes body to pivoting around the end of a wing (say after it has been shot), you can easily do that with the camera crane tag. Also works for spot lights as well!!! Pretty useful little tag. That is all. I hope that piece of information has some use to you. Thanks, Dave
  6. 1 point
    Adding a well working plugin for C4D from any render engine is a huge amount of work that takes a huge amount of time. With them adding support for ProRender I'd expect there to not be much more because of the huge amount of time making a plugin for a render engine takes. I see adding support for ProRender and a bad move for many reasons. 1) C4D had a ton of render engine available for use already. Of all the 3D programs out there C4D might have the most render engine plugins available. Yet another plugin is not what C4D needs. 2) ProRender looks slow and new. There is so much work that goes into making a good render engine having a new one is probably bad unless they have a huge team working very efficiently on it. 3) The time wasted on adding support to ProRender could have been used adding features people would actually want and use. Other things that will probably be added is real time painting preview in bodypaint and some tools being multi core. It probably won't be integrated well with steady stroke and other features that would make people actually use it, so again a waste of time. I'm sure most have switched to useing 3DCoat, zbrush, or substance painter at this point anyway. If they do have things like steady stroke in there it will be a huge feature for me. For the new core I would hope it means at least all tools would use multiple cores and everything would run faster. At the very least I'd hope the bool tool would use multiple cores. To help answer 3D-Pangel's initial question in the past we might have seen the mograph tool use multiple cores, a faster startup of c4d, and some other tools using multiple cores as a partial integration of the new core. They probably have been working on it for a long time so this for me will be the most interesting thing. Seeing how much they actually get done next year with that crew not having to spend so much time on the core will be more interesting. MAXON switching to a system where you don't have to update every year for your copy of C4D to not become worthless would be great from my perspective. Their list of updates per release have been so ho hum that I could save a lot of money by skipping several releases and then pay $650 to upgrade. This would be bad for MAXON as so many people would do this, they would lose a ton of money. C4D has not have a I need it or really want it update for a long time. They know this, and are keeping the you must update every year policy because of it. There would be some money in the large number of people that might upgrade from really old versions to the newest one for $650. They would also be able to keep some users from switching to other programs because they are tired of paying $650 per year for features they will never use. To know if it would be overall positive or negative cash flow would be hard to determine. I could be wrong. Maybe they make more money by changing their upgrade policy. That is the way I see things. I could be wrong. If they have anything like VR or something I'd be really surprised.
  7. 1 point
    Thank you. I knew it had to be something simply that I was overlooking! Cheers merkvilson
  8. 1 point
    MAXON has said they are working on improving the UV tools and/or making a whole new workflow for them. They just haven't said when those are going to come.
  9. 1 point
    The feeling is certainly mutual. I think learning is what this forum is all about and I should predicate any further comments by saying I have something of a rep among my students for being tough in my feedback, which can sometimes be read as being negative, but on the contrary my criticism - here and in other learning environments - is fuelled with respect for what you are doing and sharing here, and I tend to think that simple thumbs up support - while addictive and flattering on these kinds of forums - is not particularly useful in the long run. Because very little critical learning takes place. I feel like a problem which is visible in your approach to drawing some of these sculptures is that the process of modelling asks us to resort to known routines and forms (amazing that the core of 3D is still based on platonic forms that we call primitives). There is little that I take more seriously than drawing and finding a line. You are exceptionally good at this with poly-modelling. The scull alone is evidence that you can read 3D space in highly complex ways. However there is a basic fault with the way we are taught to draw from a young age, which involves following a system to draw a certain kind of object, the best example of which is a face. I fume, FUME with rage when I see nursery teachers telling my daughter how to draw stick men - when she had previously been drawing things in a far more liberal way. Someone on the forum that I want to mention is @Rectro who really talks brilliantly about anatomy and how to approach a drawing as complex as a human form. Yet, this advice must also be taken with the knowledge that at a certain point you should be able to draw anything with the same basic tool kit, of breaking down objects into sections and looking for the core lines. So where an anatomical knowledge of the face is invaluable in understanding bone and muscle structure, you should also allow yourself the freedom to stand back and apply a similar set of rules to any organic matter, without first knowing it's anatomical makeup. To think about weight distribution, balance, proportion etc. We get wrapped up in digital tools like symmetry, which are extremely useful, but also limit the way in which a form can be described. As is the core problem with platonic forms and why philosophy and art has spent 2000 years+ trying to move away from this form of representation. So, in conclusion, when you are drawing a figure the face is important, only because we are taught to recognise faces from a young age, but to move beyond this and to understand how a body relates to the face and the ground it is crucial to see it as a whole and therefore to apply the same kind of fastidiousness to the rolls of cloth than you wold to an eye socket. While this is all well and good for 'physically accurate drawing/modelling', many C4d users come in from the perspective of Pixar-esque characters, with far less physical complexity. Which is a totally valid approach, however I have never met a good character animator who doesn't also have a core understanding of other modes of drawing. Enormous Respect CBR !!!
  10. 1 point
  11. 1 point
    @SKaiser you can just buy Redshift right now. It gives you access to all the plugins, including the C4D one when it's officially out. Otherwise just keep working with the alpha for now. You are allowed to use it commercially. No rendering from me while I'm on (a very short) vacation. With these views, it's hard to justify sitting in front of a computer for too long. :) too bad I have to get back to NYC tomorrow. :'(
  12. 1 point
  13. 1 point
    Good Stuff @DanLSK. I'm a Resident Evil fan too! I really love the Jewel Render. Here's a few more from me. I'm starting to get the hang of the nodal system now, though not all nodes are documented....need to experiment more. Does anyone know how much the renderer will change when it goes to beta?
  14. 1 point
    Thanks and yes it's a basic zbrush spray and dot alpha all over. Will be tweaking face today, then start doing proper texturing. Xyz alphas may be my choice along with some hand painted colour maps. There is 3 bump slots so I will do 3 separate layers. I need to do these temp phases to keep me motivated. These may be enough for mu purpose. https://texturing.xyz/collections/human/products/alphaskinface-01 Dan
  15. 1 point
    New addition to the fat birds family, he's gonna be a biggie. head modelled so far.
  16. 1 point
    Thanx Igor, and yes I love the old RE games. The Umbrella scene is nothing special to look at really, but it served me well to get grasp on few things. The IPR is so great I just cant stop playing with displacement or better yet refractive materials with displacement... Here is few quickies from this morning
  17. 1 point
    Played some more with Redshift tonight Lessons learned: 1- RS does not like SLI configuration. Must disable SLI so RS can correctly utilize all of the vRAM from both video cards. 2- Save often, 16gigs of RAM just might not be enough when you get crazy (not knowing what you doing) with some of the settings... 3- Bake your own complicated C4D shaders into textures then pipe them into RS texture 4- Good time to start learning XPresso One more from tonight
  18. 1 point
    Thanks, appreciate your comments. Because Im working on a likeness, this set up is to give me fast visual feedback, the texture map is hand painted, the final map will have more detail in it. The SSS is using one hand painted diffuse colour map, the ALsurface is doing the rest. Very important is the skin detail, and getting the Reflection amount, and roughness right with the maps. Iv got a kind of formula that seems to work with using the right values, il post my findings. (see image below, may need to click see full size a few times) The secondary Refection has a IOR at 0 so it shows directly at the front of face, the Primary IOR is 1.7 pushing the reflection with a gloss of 0.5 to outer edge. Both Reflections use same amount map, only the Primary has its exposure at 2. Dan Thanks, glad you like it so far. The eyes are two shells. Inner shell which has the flat diffuse colour map. The material is using a blend of diffuse and SSS from the Advanced Vray Material. Outer Shell is reflection, and refraction. Just one key Area light, no Gi, and one Rim light. Dan
  19. 1 point
    That's because all you are hearing is speculation. Other than the small demos of ProRenderer, we haven't really heard anything official from MAXON. I am withholding judgment until MAXON officially says what's coming in the next version. Speculation is fun sometimes, but it's not the same as knowing anything. Siggraph is coming up in a little over a month; we should know some stuff then.



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