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  1. 11 points
    Lots of ways to go about that, but I think this is probably the fastest... 1. Top view, poly pen in Quad Strip Mode, and draw yourself a network of polygons, like so... 2. Extrude that (with caps), and delete the end caps to get your tunnel ends... 3. Smooth Subdivide that to Level 4 or 5, then use a displacer deformer (make it a child of the object), driven by Luka noise to make it look rocky... It might look like a giant pretzel from the outside, but from inside we're approaching something cave-like... Don't forget to select all polys and Reverse your Normals at this point... You can add further displacements (in a group with the SDS Object) at smaller scales, and use that additional SDS to increase polycount much higher. Here I'm at a combined Subdivision to Level 7, and I've got Luka at 600% driving the bigger detail, and Electric Noise, 50%, stretched 500% on V for finer detail.... Lastly, you can handle smaller detail still with normal or bump maps in the material... talking of which, if you are using photo-based textures you want a nice Triplanar mapping setup to texture this properly, but you can do it equally well with just layered procedural noises... Lastly I should mention some techniques for making it look 'big'. These might include... Building in small holes to the tunnel roof to let beams of sunlight in, and using a plane in an Atom Array in front of your sunlight to further break it into godrays.. Adding some Physical Sky, not for its weather, but for its atmospherics haze... Using small area lights, with small illumination falloffs Park the camera very low, and use wide angles Hope that helps... CBR
  2. 10 points
    For the past years I have been working on this solo project during my spare time. It took me way too long, because in between i lost interest, had paid jobs, scrutinized the story, scrutinized the characters, scrutinized my lifechoices etc. But eventually i was compelled to finish this short film because i had invested too much time to just drop this project. So here, I'd like to present you: SUNDAY, a story about a lonely penguin's quest for refreshment on a hot and sunny southpole sunday.
  3. 9 points
    whats up guys, so gonna be putting up some free models over the next few weeks, some older ones and some more recent ones, most of these are characters i've either never used or have recently updated, going to take me awhile to clean up and sort through them, but i'll post up some new ones when i can. Hammy cute little cartoon hamster! hammy.c4d Donut Derick fun little character i made a while ago after watching sausage party :D derick donut.c4d Rory the Robin one of my oldest but still one of my favourite toon characters :D rory final 2.c4d Big Ugly Baby its a big ugly baby.. baby final.c4d Brain dead Banana This is what happens when you eat a bananas head! be warned! also comes with my plastic toy shaders ! Brain dead banana final.c4d Fat Brian Another really old model, i put quite a lot of time and detail into this one at the time, and he still holds up 3 years later fat Brian final.c4d watch display.psd
  4. 8 points
    My beautiful wife works as a social worker at the juvenile court, and she uses the signs of safety-tool: the three houses. These three houses are a great way to talk to children about the good things in their lives, their worries and the dreams they have for the future. She made an example sketch for me, so I had a very good idea of what she wanted. I made a new sketch (below) because she really likes the old skool pencil-on-paper style. I thought it would be cool to make a 3d version of the house, so here it is!
  5. 7 points
    Hi folks :) As you can see we have some new features on the site. First is that the members display at the bottom of forum is showing avatars Second is, we have a direct topic feed with Cafe Youtube videos Hope you like the improvements, there are still some issues we have to iron out but it works!
  6. 7 points
    The other day my pc crashed with several apps open. C4D survived ok, but Photoshop had reverted to OOBE - welcome screen, load of panels I don't use etc. I tweaked PS back to how I like it and that was that. 2 days later I needed an image for C4D, so I opened PS and created a 1000px square doc, only to get an error message 'could not complete operation - disk full'. I looked in explorer and sure enough my SSD was bright red and completely full. I closed everything and ran virus check, and other stuff and the SSD went back to normal. I opened PS - disk full. This went on and on - problem kept appearing, disk full. Didn't Einstein say that repeating the same thing, expecting a different result is a sign of insanity ? On the 10th attempt, I opened PS, made a doc 1000 ... hold on 1000 INCHES ? The PS reset had set the default units to inches, and I was trying to create a doc 7,000 square feet. PS standard res is 300dpi, so pixel-wise I was out by a factor of 10^5. panic over...
  7. 6 points
    After the gold and fluttery-ness of my Golden Snitch, it seemed only logical to do a Quaffle next - I seem to be doing the set. In fact these Quidditch guys are great for an ongoing personal project in that if you don't have much time you can always just spend a free night doing 1 type of ball, and then come back to it later to add to the set... Still working on textures, but off to a fairly decent start... this one was Physical Render /GI - 3 mins. CBR
  8. 6 points
    just finished this :) @Cerbera sorry for the caps in the topic title, but the title of the video just required it ;)
  9. 6 points
    Folks that are speculating here and via pm, here is a simple answer. Adobe is not buying Maxon - simple as that. Not sure how on earth can anyone conclude that given this development? This, if anything nullifies such assumptions... If Adobe ever wanted this then probably good time for them was 10 years ago, certainly not now, and to best of my knowledge, and I was saying this every year when this comes up - C4D is not for sale. It is simply silly for Nemetschek to sell such a valuable and growing company. Anyone can find financial results of companies online, this is simply publicly available information. Now, I am looking forward to open some accounts for Redshift folks ;)
  10. 6 points
    Inspired by @anglereserve's recent post on his Bull Ant, I set about finding some reference for a Jewel Wasp I was thinking of modelling myself. And while I was doing that, I came across this remarkable site, which not only provides some of the best arthropod reference anywhere on the net, but also is worth a look just for the sheer beauty of the images and the ridiculous level to which we can zoom in to appreciate the microstructure of these creatures. Absolutely breathtaking stuff, so sharing here for your reference (not you, angle, they don't have a Bull Ant unfortunately !), or general appreciation... Now I've seen those, I'll be doing this orchid Bee I think... http://microsculpture.net/orchid-bee-top.html CBR
  11. 5 points
    And so I get to the 3rd type of ball in my Quidditch set - we've done the Golden Snitch, and the non-magical Quaffle, and now we're on to the 2nd most interesting of them, the Bludgers... These magical cannonballs need to be chained down in the box, because as soon as it's opened they are enchanted to aggressively pursue and attack anyone nearby at the time. (Health and Safety isn't a thing in Harry Potter, where they've got potions that can fix broken bones). Modelling-wise, not the most challenging of forms in the Bludger itself, but interesting working out the mechanisms that hold it down, and I think it will look good in the box with the rest of them. Textures here are first pass, and will probably get improved later by the time I have sculpted some massive dents into it, for now this is just the base mesh and I skipped ahead to first round textures... Unusually for that production, I didn't like the textures they gave these in the films - too orange for my taste, so I'm going back to good old honest gun-metal greys, with slightly more weathering than they did. That last one Physical Render (Adaptive, Automatic, 6%, 3,3,3,0) / GI (IC/QMC): 5 mins 40. CBR
  12. 5 points
    And this is what happens, when you click on "Disclaimer" on my next homepage... Physical render, Marvelous designer for the suit.
  13. 5 points
    Fancied a quick little personal weekend modelling project, so thought I'd do the Golden Snitch from Harry Potter. Painfully easy to do with either Volume builder or Sculpting, I fancied more of a challenge so I did it properly, with SDS. Here we are at the end of Day 1, most of the modelling done, but no textures yet... 100% quads, but still the odd 6 point pole remaining, not that it creates any artefacts here :) Of course it's different in every film, and you can tell they didn't know it was going to have to open until film 6, but I'm doing the film 3 version, arguably the best of the series because Alfonso Cuaron was in charge... Texturing tomorrow... CBR
  14. 5 points
    Can finally show some work I did for the Walking Dead Season 9 last year. This was a pretty dreamy project. The props department needed a sword designed for the Jesus Monroe character. They gave me basic dimensions that they had tested out with the actor and some research from the comic and previous action figures and then I was let loose from there. I designed three different options - this is the one they ultimately went with. Stitching, seams, etc in the renders could be better overall, but the whole thing went together in just two days.
  15. 5 points
    Created for fun.. Software used: Zbrush, Rizom UV, Substance Painter, Cinema 4D and Redshift
  16. 5 points
    A few hours into this Bull Ant model I posted in the members challenge area. I worked on a couple of drawings on paper and then in Procreate. I almost always do a drawing or two so I can try and figure out what shapes I'm going to be working on. After that I put a few hours into the mesh. Time to refine! @cerbera Looking forward to seeing that wasp!
  17. 4 points
    Just checking everyone has seen this, a brilliantly comprehensive guide to the entire photogrammetry workflow in Cinema from C4D Grandmaesters Chris Schmidt and Aaron Coverett. Includes a properly genius technique for transferring the UVs and textures of a horrendous model onto a really good one ! https://youtu.be/VRfytVKkNQw Then feel free to pop over to Patreon, and help pay Chris's doubtless massive electricity bills in gratitude for this, and his regular Wednesday wisdom Rocket lasso live streams, which continue to be similarly excellent ! :) CBR
  18. 4 points
    One of the best video clips I've seen ....(I guess) period! It's 3D and I found out that it actually was an awarded short film called "Paths of Hate created by "Platige Image" and published by the Polish Film Institute. It was brilliantly edited here to fit Gunship's song, (For all you 80's nostalgic people also listen to Gunship's "Tech Noir", in one of the most entertaining claymations you've ever laid eyes on)
  19. 4 points
    I ended up modeling actual geometry based on the loft (gif example). the c4d file was my initial set up. thanks for your help! cafe sample.c4d
  20. 4 points
    You can always just setup such a scene yourself and then reuse it with different materials. It's really not a big deal and decent HDRI's are not really that expensive anymore. Here's some directions: HDRI Haven (Free) textures.com HDRI's
  21. 4 points
    Dave is very cool and grounded guy, he never talked with any of us at Maxon with a bossy attitude. We truly believe he is capable to lead is in a better future.
  22. 4 points
    10 min keynote from the new MAXON ceo! Just announce the big news and wrap it up. I like his style! Tim Cook can learn something from this.
  23. 4 points
    New batch of setups :P 94_Raffale(MG+CA).c4d 93_EKG_rig(MG+XP).c4d 95_Concertina_rig(MG+XP).c4d
  24. 4 points
    Don’t we all love the guy who pops out of nowhere to ask a question and then doesn’t even take the time or courtesy to reply back after he’s received a thoughtful answer. I say some sort of acknowledgment or maybe even a ‘thank you’ is required operating procedure for anyone seeking help. People providing help are getting nothing out of it 98% of the time. At least honor a fellow human’s generosity for helping you. I think we sometimes are morally obliged to *not* help certain people. We owe it to ourselves to not be abused by the laziness, greed and opportunism of others.
  25. 4 points
    Here's the sort of thing I meant. Because I'm rolling the plaster on in the direction of the 'arm's natural curve I can get away with just the 1 bend deformer here. CBR
  26. 3 points
    Hey, guys! Just sharing a personal project I've been working on. Rendered in Redshift.
  27. 3 points
    Hi folks :) As many of you already know, Cafe has a Youtube channel with large video collection of tutorials. Please post your tutorial requests into this topic, all ideas are welcome. To increase the likelihood of your proposition being accepted and turned into tutorial, try to be as precise as possible and look for subjects that would benefit wide variety of user. This of course doesn't mean you shouldn't suggest something that is based on your individual needs. Thanks!
  28. 3 points
    Hello guys! My pretty useful free ArcSplineRig XPresso preset was updated and now supports Cinema 4D R20, works faster and do not contains any python or coffee nodes! Check it out here, hope you like it! https://mikeudin.net/product-category/free/
  29. 3 points
    I would like to see a series of best practice workflow guides on modelling small objects, with attention paid to solving ngons. I still get stuck on the simplest of flows and I never know where I should be solving things, or the best place to start modelling. It would be great to have a series of videos where you model each of the small parts of something, like a robot arm or something like that, and then since you have perfect workflow, people watching the videos will pick things up that are not the 'purpose' of the video, just little workflow tips and solutions to modelling problems. For instance this arm - I can think of a couple of ways of making the claw, but which one is best and wont have me solving ngon lines for four hours in the middle of the night? Do I Boole them out and then try and fix them? Do I start with three circle polygons and connect them? That base object, should I just intersect some different objects and hope for the best or is there a way of using SDS for this? Should I use the volume builder? I know this is above and beyond the scope of the topic, but if you dont ask you dont get! Also, the videos needn't be the high polish of the VP days, I think I would learn a lot from just a screen recording of an expert user making such objects, even with any mistakes left in. Thanks
  30. 3 points
    I think this does it. I used clamp and iteration rod6.c4d
  31. 3 points
    This sort of thing is the poly method... 1. Primary loops established 2. SnS together, then delete intermediate loops / add small 90 degree rim extrude at top 3. Patch inside that to get the top / add 2 new loops between top and bottom with Preserve Curvature on. 4. Continue on to lower part etc, then control loops and SDS. CBR
  32. 3 points
    Made a quick demonstration video of the new feature in action. While the feature originated from the demand to have a pixel accurate positioning and sizing option, I figured I could as well implement a full transform tool supporting both UV unit as pixel units (except for scale and rotate, obviously). The new tool is still work in progress, but should be available in a next update.
  33. 3 points
    well, that was a lot of comments. I'm glad that I have enough beer Fixed some issues while commenting. Random option was not working in picture viewer. Also fixed some other little bugs. Have fun. If any of the coders have any advice regarding the code - I'd be glad to learn some tips and tricks. Spacer.zip
  34. 3 points
    Since last post I was working on a new feature, which I am very excited about. More about that later. It took time to work out a design and required quite some supporting math to get the desired solution. Implementation is now mostly done, just not finalized yet. However, I was recently contacted for a particular request, and have put the feature on the shelf (only for a while) as I assume this new request to be more useful on a long term. Up till now Seamilar's manipulation of UVs (via points, edges, polygons, islands) was mainly focused on using interactive tools. Soon the new numeric transform tool will be available, allowing to manipulate points, edges, polygons and islands via precise values. For this to work the way I intended I had to construct a custom GUI component: ReferencePoint. With this you will be able to move, rotate, scale, position, size items from the four corners of a bounding box, or its center. For rotating, scaling and sizing you will also be able to perform the transformation actions on the whole set of selected items, or on the different islands separately. For moving and positioning you will be able to specify any corner of the UV canvas as origin. And when in Texture Display mode you will have the option to specify the transformation action in UV coordinates, or in pixel values. The icon for this new tool needs some attention, as this one is just a placeholder during the work-in-progress. I am currently finalizing the implementation of this tool. Followed with some more testing days ahead, before releasing an update. (Maybe some porting to pre-R20 version of Seamilar, depending the interest) After the release of the update I'll continue working on the other feature.
  35. 3 points
    Firstly thing - There is no way to directly access and change the value of the dropdown for the render setting within the Batch Renderer with Python AFAIK. Which means that while it's not very efficient your approach is not terrible when dealing with a body of files, don't feel bad about it, if it works then that's more important than if it works efficiently. Now onto ways you could improve your code : For a start I don't see anything in your script accessing the batch renderer to get the file. So that's done first by using the "GetBatchRender" function, e.g. batchRender = c4d.documents.GetBatchRender() count = batchRender.GetElementCount() for i in range(count): fileName = batchRender.GetElement(i) This goes through the whole list, but perhaps you only want to deal with the first (top most, just about to render) document, in which case you wouldn't do the for loop but would just do fileName = batchRender.GetElement(0). Next, you can just load in and save the file more directly than using CallCommand using the c4d.document.LoadDocument(file, flags). myDoc = c4d.documents.LoadDocument(fileName, c4d.SCENEFILTER_PROGRESSALLOWED) if myDoc is None: return At this point you now have an opened document and can see the progress as the file is loaded in. Your next step is to switch out the render data in that document. Just use the code you already have for that, it's fine. You shouldn't need the EventAdd() function calls in there though. The final step is to re-save your document, this time rather than using CallCommand again you can do it directly. With c4d.document.SaveDocument(doc, file, flags, format) result = c4d.documents.SaveDocument(myDoc, fileName, c4d.SAVEDOCUMENTFLAGS_DONTADDTORECENTLIST, c4d.FORMAT_C4DEXPORT) if result is False: return At this point you should be able to start the batch render and be good to go. If you want you can do this programmatically again without having to use CallCommand by accessing the BatchRender object's SetRendering() function i.e. batchRender.SetRendering(c4d.BR_START) should do the job.
  36. 3 points
    I found this... ...
  37. 3 points
    More and more people are going freelance? Why? Well the simple reason is that there are more and more people who want to do the work, but the amount of full time jobs isn’t growing as fast. Also with the amount of different skill sets available, most studio’s don’t need a lot of these people full time. For example I mostly do character rigging these days. Most studios don’t need a character rigger full time. They need one just a couple of times a year perhaps, or maybe even just once ever. So freelancing in general a better distribution of labor. There is a dark side to this trend though which everyone should be aware. A lot of studios hire freelancers because they know that most people are terrible at figuring out what they are worth and can be exploited. pressured and manipulated into doing waay more work for waay less money. Many studios will hire freelancers to avoid paying benefits or giving paid leave. This is my advice to every budding freelancer. Don’t do it unless you have no choice. Freelancing is hard. Finding clients is hard, standing out from every other freelancer is hard. There are 2 real reasons anyone should be a freelancer. The first category is people who can’t get stable employment and simply have no choice, and the second category is people who simply HAVE to be able to manage their own time, their money, their projects etc. Take me for example, I’m a freelancer because i simply have no choice in the matter. There is no way i can go into an office every day. It’s simply not in my DNA. And i also love all the aspects around being a freelancer. As a kid i really enjoyed playing economic sim games, where you get to run your own business. Being a freelancer is pretty much just like that. Except you can’t always just pour more money into something, sometimes you just have to do the work. You have to build your brand, handle advertising and marketing, promote yourself, negotiate prices, manage expenses, plan for catastrophes and a whole bunch of other stuff. So if you are thinking about being a freelancer, think about if you enjoy all this. Or does it stress you the ^%@! out. Because to lots of people it does. And if you just want to make animations or design characters, perhaps you are better off looking for employment where other people who are good at things like marketing and negotiations will take care of those things for you. Because remember there are only so many hours in a day. And you will be competing with people who really love what they do. If you want to go freelance, i always recommend teaming up with someone who complements your skills. So you can pull each other up. Or reach out to someone who is already freelancing and let them know what your special skills are. This leads me to the next topic Special Skills you need to have something that sets you apart. Being a generalist is important and as a freelancer it really helps if you are aware of the entire pipeline around you. BUT when you email someone or talk to someone, you need a hook, you need to be remembered for something. Some little piece of info, so when they are thinking “Damn i need someone to do this” They will instantly think of you. This kind of niche specialization also helps with google searches when people are looking for someone who does what you do. How many people are you competing with in your primary category? Know your competition and pivot so at least somewhere you come up at the top of the list. The last part of this post i want to bring up something very important and that is: “Love what you do” . Because if you are doing something you are not passionate about you will lose. Why? Because you are competing with people who LOVE what they do. Especially in the creative industry. So always think long and hard about how you are presenting yourself and what kind of jobs you are attracting. If you enjoyed this article, make sure to follow me. I got a whole series lined up. Next i’m thinking of writing an article on how to set prices and charge for your work. What do you think? Cheers, Aleksey The post Starting out as a freelancer in the 3D/VFX industry appeared first on Ace5studios. View the full article
  38. 3 points
    Let's have a look at the Mac facts here: 1. Pro res seems like an also-ran. At present. 2. Lack of Nvidia suport with no hope of it in the future. 3. Lack of AMD support for the industry standard GPU renderers 3. Apple dropping support for Open CL and GL 4. Integration just seems non existent with Apple's proprietary Metal, and where it does exist ( like in Premiere ) it seems to make the programs run slower. 5. Apples walled garden just seems to get higher and higher. 6. Where the hell is this Mac Pro Modular, they've been talking about it for years now? All of this and more just means we're at a point ( as OSX users ) where it won't matter if you spend £15K on a full spec bells and whistles OSX machine, it just won't run the renderers needed for C4D work. Apple Pro machines are no longer pro, they're just expensive toys. Enough already. And I say this as a nearly 3 decades Mac user sitting here with a 6 core I7 2018 MBP with a Razer Core X Vega 64 that is basically a dog when it comes to running C4D. It's time to switch to be honest. My next Mac will be a PC.
  39. 3 points
    if you are worried about render times i would stop using macs..
  40. 3 points
    Keyframe the dynamics on ? 3spheres.c4d
  41. 3 points
    Some workflow info: I really like the Volume builder and mesher for creating these smooth surface body parts. - Some retopo in 3D Coat - Marvelous designer for the neck part - Modeled and rendered in C4D off course - Redshift for rendering Still a lot to add
  42. 3 points
    As a bit of a drone pilot myself, for a long time I have wondered when 3D mapping would get here. And indeed it just has ! DJI have just released Terra, which will turn your UAV footage into 3D digital assets complete with textures ! As a company I don't like DJI, and don't fly their machines myself (2 non-pilot-error flyaways mean I can't trust them), but they remain the people with the most budget to throw at ideas like this, and are surely the frontrunners of making it a consumer-level thing. Read more below... https://www.dji.com/uk/dji-terra CBR
  43. 3 points
    KVB is correct in the setup. However, you have turned off 'Seen by Reflection' on the Floor.1 object in your image. It is the Floor.1 that is making the shadows on the rocket lighter because it is bouncing the sky light back up at the rocket.
  44. 3 points
    I think this does it def main(): top = doc.SearchObject('boxes') boxes = top.GetChildren() count = len(boxes) boxes[0][c4d.ID_BASEOBJECT_GLOBAL_POSITION,c4d.VECTOR_X] = 0 for a in range(1, count): prev_pos = boxes[a-1][c4d.ID_BASEOBJECT_GLOBAL_POSITION,c4d.VECTOR_X] prev_rad = boxes[a-1].GetRad().x curr_rad = boxes[a].GetRad().x boxes[a][c4d.ID_BASEOBJECT_GLOBAL_POSITION,c4d.VECTOR_X] = prev_pos + prev_rad + 1 + curr_rad the boxes are under a parent called boxes, and in the for loop current position = previous position + prev radius + 1 + current radius result along X in this file, copy some boxes into the parent 'boxes' in OM box_arrange.c4d edit - same in XPresso. Select one obj and change width with scale tool to test. box_arrange_xp2.c4d AFAIK bounding box in XP doesn't use primitives only poly, but the GetRad() python method can do both.
  45. 3 points
    Hey all, I finished this model and here it is. Pretty fun but lots of challenges!
  46. 3 points
    If, like me, you use the modelling axis all the time, then it will probably have frustrated you on several occasions that there isn't a reset button there, and that r-clicking the field arrows didn't work here either, as recently as R19. I'm sure I wasn't alone in suggesting we fix that to MAXON, and I have just noticed that in R20 the right-click reset now works !! So, while we still haven't got the Reset button that would sort them all out in one click, we can at least now do it in 3 right-clicks, which is a lot better than manually moving the sliders to 0 with no quantization. So just giving my fellow modellers a heads up on that one, as it seems to been thought of as too minor to include in the R20 feature lists... But that's a biggie for me - will save a lot of time cumulatively, that one... CBR
  47. 3 points
    Thanks! I put another 6-8 hours into this model. I still have to do the "mouth parts" and clean it up before UV's and texturing. There are a lot of messy bits.... The butt was a pain in the.... but I think it's working now.
  48. 3 points
    Got a little farther along. I had a day of voice recording with my voice actor, Mike Luce this week. We did 2 scripts so I'll have stuff to work with for a while now. One thing I can't seem to remember is that when you scale the characters, the hair and fur don't scale with them! It took some time to get them looking right again!
  49. 3 points
    I like both techniques and wonder why they couldn't be combined. While the Lester Banks video was easy to follow (as well as just brilliant) the first one minute tutorial required you to be super quick with the pause button to unpack all the steps. To help, here is what I as able to discern from multiple views in the first video: Tree Deformation (first video): 1) Set up a spline that matches the main trunk and subdivide it appropriately. 2) Set up a hair object converted from that spline 3) Link that hair object to some planar object (a disk in this video) placed at the base of the tree. 4) Set the hair object to generate squares --- I would imagine that this step somehow allows the geometry of the tree to be linked to the hair object performed in steps 6 and 7. Not sure. 5) Select the hair object and go to the simulate tab in the C4D main menu and select "Set roots". Now because the planar object was linked to the hair object in Step 3, that planar object now becomes the "root" of the hair object. Again, not sure. 6) Bring in a mesh deformer and make it a child of the parent tree object. 7) Drag the hair object into the object window of the mesh deformer. Set the external mode to "surface" and press initialize. 8) Go to the hair object's Dynamic's tab and set Rest Hold to 50% 9) You now have the tree model to be impacted by hair dynamics. Grab the planar object created in Step 3 and the tree will react appropriately. Add wind and the tree bends (but the leaves do not move -- for this go to the second tutorial. At this point, you can do some pretty neat things with the tree that even plugins like Forester cannot do. While Forester can simulate wind blowing the leaves and branches around, physically moving the tree around has no dynamic impact on the tree. This technique allows you to simulate a tree being cut or knocked down. Or something big (like a truck) crashing into the tree. For those who are truly gifted with X-particles (which means "not me"), imagine using the multi-physics capabilities of X-Particles to impact the tree dynamics. Could particle Advection be used to the drive the base hair spline on those trees? Couple that with the X-Particles grain solver and could it be possible to have an avalanche tear through a forest pretty realistically? Or have the leaves on the tree generate static particles which are then advected by the fluid simulation of an explosion while the tree reacts dynamically. The effect I am thinking of would match those 1950 videos of nuclear bomb shock wave ripping through a winter forest in slow motion (as seen here at 18 seconds in) I feel that this can be done because X-particles is so well integrated with C4D --- but not sure. I would hope Mario Tran Phuc reads this thread and is challenged by the concept. If anyone could do it, it would be him. That guy never ceases to inspire. I also hope that full dynamic capability is added in Forester 2, but they are too busy with Rock Engine - a pretty cool landscape generator for C4D - so don't hold your breath. Dave
  50. 3 points
    This is my first post, although I've been lurking and learning from everyone here for quite some time now. This model was textured/Rendered in Redshift. Thanks for having a look and any feedback!

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