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Showing content with the highest reputation on 11/29/2018 in all areas

  1. 2 points
    Hey, VST, I have encountered much the same thing when working with volumes: sometimes my computer would be made very slow indeed by a subtraction or union. And my machine is fairly powerful, too. I found that the problem was greatly alleviated if I: made sure that the primitives or mesh objects I dropped into the Volume Builder did not already have an extremely high polycount. For example, I have my sphere primitive bumped editable with a Segment Count of 60, rather than the usual 90--100 I usually prefer. With your Cubes, make them Editable with a polycount setting of 8---8---8. The trick is to make your Volume Smoothing do all the smoothing work, rather than putting high-poly objects initially into your Volume Builder. switched the viewport's current Display Shading away from Gouraud and down to Hidden Lines mode, at least while I am doing the object translation needed for a Subtraction or Union; you can even leave your scene in Gouraud, and instead apply a custom Display Tag to your Volume Mesher to temporarily reduce the demands it's making on your computer resources. and of course, as you know, the whole Volume operation is made more CPU/RAM intensive if your Voxel Count is dialed very low, or your Smoothing Iterations is too high. One trick is to perform your Union or Subtraction while the Voxel Count is set to something loose, like, say, 5cm. Then, after you've gotten everything the way you want it, dial the Voxel Count down to something finer, like 1 cm. And, as you know, the Meshes you get as a final result of Volume Building are invariably crazy-high in polygon count. I almost always then apply a Polygon Reduction to that mesh; you can reduce your polycount up to 75% or more, with no discernible loss in visual quality. All in the name of safeguarding your computer's resources and preventing a huge hang or crash. And, vis-a-vis your texturing your objects: Bear in mind that, once you drop a mesh (or other object) into the Volume Builder, it ceases to be a "mesh". It has become a voxel volume, (a whole 'nother thang) and, as such, will not take a Texture. Only the Volume Mesher (in your OM) can receive a texture. And that Texture will apply to the whole stack of objects in the Volume Builder. Somewhere online, there is a tutorial of how you can use the Correction Deformer on the Volume Mesher to enable you to assign different textures to the different objects placed under the Volume Builder. Though usually your goal is to create a whole new mesh with a single texture, as the goal of Volume Building is not so much to allow you to to do Boolean-type operations, but rather to yield brand-new objects which possess the unique "edge-smoothing" look that Volumes afford. Best, ras
  2. 1 point
    My first project with R20 and Octane 4, I felt like designing some jewellery:
  3. 1 point
    SDS need more support edges to keep good result in geometry. One of posible solutions... https://www.dropbox.com/s/64y5kfh8rjglhhp/greeble_d3.zip?dl=0
  4. 1 point
    No, there is no fit command for fields since most deformers have spatial attribute and fields don't. For example, how would you fit a shader field or python field :)
  5. 1 point
    Things will settle down after everything to do with the new core is rolled out.
  6. 1 point
    Wow! What a simple fix. Thanks for that liseng. Igor, thanks for the help with Insydium. I haven't heard back from them yet, but now that I have the solution, I'm good to go. I just didn't realize that Cycles didn't work with R20. I understood how Particles would change with the fields and such, I didn't realize a render would have to change too. Thanks everyone
  7. 1 point
    Make the material. Put them under a bool object. Only if you want them as a single mesh though. It's not needed to put it into a game.
  8. 1 point
    just drag you user data into the viewport... shift click those elements in the vp then to select multiple and then right click >> make group. ctrl-click and drag the elements to move them.
  9. 1 point
    In this Cinema 4D video tutorial we are taking a look at Volume Building in Cinema 4D R20. The Volume Builder is a powerful tool that allows us to build complex organic geometry very quickly, It does this by exploiting the properties of Voxel Grids. Digitalmeat.ukIf you would like to support Digital Meat, or follow me on social media, see the below links.Patreon: https://www.patreon.com/DigitalMeat3DMerchandise: https://redbubble.com/people/digital-meatSupport: https://digitalmeat.uk/donate/Facebook: https://www.facebook.com/digitalmeat3d/Twitter: https://twitter.com/digitalmeat3DGoogle+: https://plus.google.com/+DIGITALMEA BEEF DOCTOR: https://www.youtube.com/channel/UC66f69qhgxy6YnZVMNaCtiA
  10. 1 point
    Hi, I've stopped designing since 2009 and now i come back after 8 years of being away and I am really blown away by the changes/progress! I feel too lazy to do anything even though i purchased a new machine / AMD tr 1950x / 32Gb ram .... so i don't understand how to motivate myself :( well, maybe i must share some of my work even if it incomplete , I will update the topic if I make any progress or any test . sorry for my english Here some of my tests i did on last week, i spend most of my time trying to recover my skills Zbrush & C4D / physical render C4D - vray short animation with no story C4d - physical render
  11. 1 point
    Here's my current WIP: a human skull. This was done entirely using the SCULPT feature in R20. I started out by using Volume Building, where I united a Cube and 2 Sphere primitives, to create my basic "chunky block", roughly in a skull shape... Then the rest was all done with Sculpt, looking at photographs. As you can see, because we're not working with voxels, there eventually occurs some nasty "bunching and stretching" of the polys. Increasing the Sculpt fineness/density does not really alleviate the artifacts, sadly; nor does using the Smooth feature. Maybe future releases of C4D will feature true voxel sculpting... What it needs, of course, is a Retopo, and I don't really understand how to achieve that in C4D. I never did figure out how to use the Polygon Pen to effect a Retopo. The skull isn't done-- I still need to etch in those teeth! Organic forms like this are jolly hard to sculpt. ras
  12. 1 point
    Hi, one way to fake GI is this: insert sphere into your scene, make it big enough so all scene objects fit inside sphere, and make sphere like half sphere, sliced in half so we have only top half, simulating visible sky. Then insert omni light (no shadows), add light to cloner, make light distribute on sphere surface (vertex distribution), so you have one light one each sphere vertex. Put sphere and cloner inside null, add compositing tag to null, and uncheck all. You can control lighting intensity with changing number of segments on sphere, or in cloner options, or changing light strength with slider. This setup will simulate sky illumination (indirect light), so you can add one more light with enabled shadows, which will simulate sunlight. Also, to get actual visible sky, and sky/environment reflections, add standard sky object with some spherical hdri map, or non-hdri, it can be regular photo, which will be your visible sky environment. This setup is rendering much faster then GI, and you will not have any issues with flickering in animations, which is almost always a problem when rendering animations with GI. Cheers,
  13. 1 point
    I think the environment object can be used to help ease the dark shadows so maybe use one infinite area light as a sun object to cast your shadows and the environment object to soften the darker areas. @stubbs used this technique lighting the amazing animation for FREITAG. It may need a fair bit of messing about to get the look right but at least it is just 1 light and 1 object.



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