Jump to content


Popular Content

Showing content with the highest reputation since 03/08/2019 in all areas

  1. 6 points
    just finished this :) @Cerbera sorry for the caps in the topic title, but the title of the video just required it ;)
  2. 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 ;)
  3. 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
  4. 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
  5. 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.
  6. 5 points
    Created for fun.. Software used: Zbrush, Rizom UV, Substance Painter, Cinema 4D and Redshift
  7. 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!
  8. 4 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
  9. 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.
  10. 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.
  11. 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.
  12. 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
  13. 3 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
  14. 3 points
    All credits go to the Scott Ayers. Attached is a plug-in. After installing, you'll be able to select a folder and all OBJs in the folder will all be imported. batch_importer.pyp
  15. 3 points
    Keyframe the dynamics on ? 3spheres.c4d
  16. 3 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
  17. 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
  18. 3 points
    Some music to help you pass time while rendering: Appropriately named too! May I also suggest this site: www.extrememusic.com Great site for production music where music is classified by mood, tempo, and style. In the mood for something to zone out to? Just type in "chill" to the search bar and up will come hundreds of tracks that will all stream to you one after the other WITHOUT ADS!!! Dave
  19. 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
  20. 3 points
    Oh you've come to the right place ! :) I modelled a diorama of Gandalf's Cutting a few years back... To get the frame of the circular door you just need to do some basic modelling. Get a disc object the same size as whatever you used to make your circular door, but make it slightly bigger, and then give it an inner radius of slightly smaller than the outer edge of the door frame. Then you can just select rows of edges and extrude them out in square form, like this... 1. Start with a disc. 16 segments is probably enough. 2. Edge Mode, Select the uppermost 4 edges, hold ctrl, and drag them out, then hold shift and scale them flat on Y. 3. Do the same for the sides, but this time scaling on X... 4. Close the gaps by extruding the edges next to them, using vertex snap to get them precisely aligned. Then weld the coincident points. 5. Add more extrusions to boundaries by ctrl-dragging with the move tool until you have the sort of dimensions you need, then, select all polys, get the Extrude tool, tick Create Caps and then add thickness to the wall by dragging right in the viewport... CBR
  21. 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.
  22. 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.
  23. 3 points
    Hey all, I finished this model and here it is. Pretty fun but lots of challenges!
  24. 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
  25. 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.
  26. 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!
  27. 3 points
    This is my recent personal project, thank you very much my good friend @chuanzhen for providing plugins and a lot of knowledge about rig rig demo About plugins: @chuanzhen e-mail:faxwang123@gmail.com Twitter:https ://twitter.com/chuanzhen187 You can download the scene file here: Toy Rig 1.0:https://drive.google.com/file/d/1ecKQ-1Ui7xdN7qLB1z9mbXvic4Gghimo/view?usp=sharing
  28. 3 points
    the GI lighting in your scene multiplies over the background compositing. the planes become visible, because the GI shadow is visible on them. the question is what do you want to achieve? shall the walls emit light on the object? shall the object throw shadow on the environment? This image shows the shadows:
  29. 3 points

    From the album: My works

    © abcdfg.com

  30. 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
  31. 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!
  32. 2 points
    Hi. You need to use motion clips which is C4D Non-Linear Animation system and is designed for doing just what your asking. In order to get one clip to start from the location of the last, you need to use Pivot objects. These objects give the object a unique animatable pivot so you can move the entire animation to start at a different position. To see this workflow I suggest you watch my in-depth video on this subject, your then be making your own short animations in no time. Chapters can be seen on the youtube channel. at 0:44:05 it shows pivot objects in use. Dan
  33. 2 points
    Triplanar is a neat solution if you have the setup already done. If not, or you can't be bothered to make it, then you can make a load of polygon selections, and apply the same material several times to different areas with different mappings. For example your objects above could use cylindrical, cubic and flat projections on certain parts of the model, and that's quicker to setup than either TPM or UVs... CBR
  34. 2 points
    Omg, thank you guys, I don’t know what I was doing. I must of pressed a hot key or something that put it in 2d mode I’m not sure. Now it’s working fine. I appreciate all your guys help!!! Much love guys
  35. 2 points
    Very cool indeed. Funny since the industry we're in is so good now, at first I was asking myself if that was animated. Ha. I will always have a soft spot for Animusic though:
  36. 2 points
    Oh that's depressing. Please say it ain't so. I really don't want to pay monthly for using C4D nor do I want to pay an inflated monthly fee for access to an Adobe suite of products if all I want to do is use C4D. As a hobbyist, I only have enough time to learn (and therefore use) C4D....all the other stuff would be wasted on me. What a buzz kill to my Redshift excitement. Dave
  37. 2 points
    The motion blur makes it for me. I feel like the body could use a bit more grime but maybe magical objects have a self cleaning mode. A display box would be cool!
  38. 2 points
    A lot of new guys fall into this early trap. There is nothing in your scene to reflect in the textures, which would certainly explain why they look so dull, especially if those textures are entirely based on reflectance ! Add a Sky Object to the scene, search the content browser for HDRI, and apply a suitable HDRI material to the sky object. You may have to add a compositing tag with seen by camera unticked if you don't want it to show in the background, but now your materials will look somewhat as their authors intended ! Glow in Cinema is a Post Effect, so won't usually be added until the end of the render. CBR
  39. 2 points
    Aha set to Best and that fixed it. Now the fish can swim in a fly-free bowl. Thank you so much @natevplas @Vizn
  40. 2 points
    MAXON has three conference pass tickets for FMX 2019 up for grabs. This exciting prize gives you access to all four days of FMX 2019, from April 30 to May 03. These passes normally cost 400 Euros each! Enter to win: http://maxon3d.com/win-fmx-pass/en/
  41. 2 points
    Here's one which should work for you. Just use scale instead of position. And here is the file from that brilliant tutorial. Just hook both up to Shostakovich String Quartets.....or Cake. TP Follow.c4d.zip Sound Waves 1.c4d.zip
  42. 2 points
    I am desensitized to the sort of violence in this to a large extent, not because I see a particularly excessive amount of it, but because I get sucked out of the horror of the moment by the technicality of the achievement. Those creatures in Ep 1 were UTTERLY brutal. but were one of the most impressive things I've seen for while, and any empathy I may have for the predicament of 3D characters is largely stymied by the brilliance of the execution (and I mean that in both senses !). It's damn hard to realistically smash a 3D face, and bloody reds are a great colour scheme :) The sheer volume of violent content available isn't necessarily indicative of a world that is more violent than it used to be (aggregate long-term data suggests the very opposite; that now is the least violent time in all of earth's history - there is slow, gradual upward curve toward enlightenment values and away from violence. Personally, I value that the only violence I am exposed to is safely delivered to mostly fictional characters in our entertainment media, where of course it has a justified place as one of the more unsavoury parts of the human condition...
  43. 2 points
    couldn't resist, these things are just too much fun ;) play with the noises in the displacer deformers to your liking, if you need more details up the subdivisions for the spline and the extrudes cap grid. rock_grass_island.c4d
  44. 2 points
    @Cerbera I love it that people like us can spout all that off, probably without even opening Cinema! I think you're right on! Definitely need to use an HDRI to get those nice reflections. I'll add that you'll need some sort of grunge texture applied to the reflection roughness. There's also a subtle chromatic aberration going on with the refraction, but I don't think this is possible with any of the built-in renderers. I'm a RedShift guy myself, so I could be wrong since I barely ever use the standard materials/renderers anymore. You could fake it by rendering passes and comping in AE, adding a chromatic aberration effect on the refraction channel.
  45. 2 points
    I was watching this kinda dystopian film last night, where a lot of the population had to sit front of screens all day, connected to a master mainframe, and solve mathmatical, graphical puzzles. The puzzles were based on cubes - see snip of 2 typical screens I thought 'sitting in front of a screen all day, looking at cubes - hmmm, this sounds familiar...' film was The Zero Theorem (2013) https://www.imdb.com/title/tt2333804/
  46. 2 points
    Your material settings very important too. You need a colour channel set to 1% black, transparency set to 99%, and with a refraction index suitable for the type of crystal this is (probably 1.5-1.8 sort of range), with Exit Reflections turned off, then a Beckman Reflectance channel with a Dieletric Fresnel, a reflection level of 50% and no specular at all. You can also use the Thin film shader to get that oily sheen, which goes in the color map slot of a secondary reflectance layer, in Additive mode over the first. CBR
  47. 2 points
    I feel it's 100% artist driven. I work at a production studio. We start with a dark studio and it takes someone to first and foremost, have a vision, and then select lights, move them into place, set up modifiers, set up flags and scrims, etc. This all happens in real-time without any rendering. Most commercial photographers I know (and I work with amazing ones), still work incredibly hard and struggle at times to get the exact lighting they are envisioning and dealing with getting rid of hot spots, reflections, and shadows that are working counter to their vision. If you're able to light anything you want anyway you want, you should be a Hollywood DP making a million a movie (live action or animated films). In my opinion the render engine is just calculating the physics of the light. It's like a golf club. You can get better ones or faster ones for sure. But you need to be Tiger Woods using it, to consistently deliver beautiful results.
  48. 2 points
    Here's my 2 cents - Iteration usually works by having a sample object that represents all the objects to be iterated. The sample object 'becomes' each iterated object in turn by injecting each object ID into the object input port on the sample object. In your jpeg, the spheres are referenced in turn and thus their XP tag. The XP tags have user data Global Velocity as output. The node marked XPresso is an object node that 'becomes' whatever you connect to its input port (marked object). The tag node takes the object that has the tag as input, and outputs the tag. If there's more than 1 tag on an object, you can set the tag type to dynamic, texture etc to select the correct one. In your case, type = XPresso.
  49. 2 points
    If you need independent control of each side, just use 2 bend deformers set up symmetrically so they cover half the mesh each... I use that all the time in modelling. Or if you don't need the independence, use 1 that covers half the object, then Symmetry to get the other side like below... There is a tick button in the bend deformer called Keep Y-axis Length. Tick that to avoid stretching. CBR
  50. 2 points



C4D Cafe is the largest CINEMA 4D community. We provide facilities for discussion, showcasing and learning our favorite software :)
  • Create New...