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  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. 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
  4. 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.
  5. 5 points
    Created for fun.. Software used: Zbrush, Rizom UV, Substance Painter, Cinema 4D and Redshift
  6. 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.
  7. 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.
  8. 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.
  9. 3 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
  10. 3 points
    Keyframe the dynamics on ? 3spheres.c4d
  11. 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
  12. 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
  13. 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
  14. 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
  15. 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
  16. 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.
  17. 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.
  18. 3 points
    Hey all, I finished this model and here it is. Pretty fun but lots of challenges!
  19. 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
  20. 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.
  21. 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!
  22. 2 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.
  23. 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
  24. 2 points
    New update new issues. Unfortunately that's the case with the software we use. Some things are simply not in our power.
  25. 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
  26. 2 points
    if you are worried about render times i would stop using macs..
  27. 2 points
    I'm trying to improve the accuracy and quality of my topology and model more components from the same polygon. So far it started with a disc.
  28. 2 points
    Yeah either you need $2,500 worth of Nvidia cards, or if you only have a fast CPU, there's Arnold and Corona. I personally use Corona and, even though I haven't upgraded to a modern CPU yet, it's remarkably fast. I'm running the old Mac Trashcan™, but it's still quick. I'm hoping to get that new elusive new Mac Pro they keep talking about, but even on an iMac Pro or a Windows machine with a Threadripper, Corona is as fast as any GPU engine. Plus, it's a fully raytraced engine so there are no compromises with certain effects. I also had Cycles and it was very slow on my hardware. If you only do 3D rendering and other video CUDA stuff, then a GPU solution may be worth it. If you do lots of other stuff on your PC that doesn't use two monster GPUs, then a AMD Threadripper setup will give you super fast CPU rendering with engines that support it, AND speed up everything else you do with that PC. Your choise.
  29. 2 points
    I have an idea how you could improve it. Try running the hi-res original through a little application you can find called Instant meshes. This will retopologize it as quads, and allow you set a detail level and do poly reduction without compromising that. Very useful little tool that one... https://github.com/wjakob/instant-meshes You need the pre-compiled binary for your OS, so scroll down the page until you see those... Also don't skip the manual / overview ! It's a 2-click procedure, but you need to know what those 2 clicks are ;) CBR
  30. 2 points
    The spline should be uniform. I made this chain rig recently. chain.c4d
  31. 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!
  32. 2 points
    This ok if you don't look for the join. I spline wrapped a helix on a circle, made it an object and measured the length in xpresso. I made 3 cyls of that length using radial cloner, twist and spline wrap on the helix object. I tweaked the values a bit to make the ends meet. toroid 1.c4d
  33. 2 points
    Like this? Spline Wrap.c4d.zip
  34. 2 points
    Hi all, I just found out about this open source photogrammetry pipeline. Seems promising! I've been using 3D Zephyr but am giving this a shot today.... https://alicevision.github.io/#
  35. 2 points
    If I may add I noticed that your Uving was set to automatic which led to multiple seams. Your cylinder part for example needs only one seam to unwrap. So one seam is obviously easier to hide. Also don't forget if you apply a non hand painted texture you're better off with a seamless/tileable texture. I attach your file with improved UVs and a procedural tileable texture. Seams.rar
  36. 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...
  37. 2 points
    i use a much simpler setup for the eyelids, very easy to set up and comfortable to animate. https://gyazo.com/241bf599366d436b290546eb17cd66e3
  38. 2 points
    You want an HDRI that is pretty much black and white - I'd use Uffuzi from the content browser, in a filter to make it greyscale ( -100% saturation). But that might not be the only issue. It looks like you have the default light turned on. If there is no lighting in the scene that will be there until you turn it off in render options, or until you turn on GI, which replaces it. CBR
  39. 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.
  40. 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/
  41. 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
  42. 2 points
    And wires for @Cerbera
  43. 2 points
    Not sure what's up with the image uploader but here are the other renders.....
  44. 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.
  45. 2 points
    @pilF cart explanation - it's all down to radians ...
  46. 2 points
    Moving along. I think I'll do one more pass at the textures and grooming. I ended up doing the normal map and paint in Mudbox. I'm not sure if I'm a fan of that program yet but I thought I'd try it out.
  47. 2 points
    Latest wristwatch visualization for client. Software: Cinema4D, Redshift, AE
  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
    Okay.... some errors were made. Mainly with the mouth stuff. I think it would have been better to nest this as a separate object so that it didn't add unnecessary geometry to the overall model. Live and learn. I'm going to keep on with the UV's as is and just keep that in mind next time. Don't want to turn this into my life's work!
  50. 2 points
    Hello, you all... ... Just a Sun...! Made only with noises... and a Sphere. Layer upon layer... and lights... seven of them. ... Cheers. ... João Marco ...

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