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Showing content with the highest reputation on 01/06/2020 in all areas

  1. 1 point
    It's been ages since I posted any work, mainly due to personal projects getting sidelined by work stuff & ending up half-finished. Anyway, I have a tendancy to just post things when they're done but this time I want to do more of an actual WIP, although I have obviously put quite a bit of work in already. Over christmas, I visited the Ashmolean Museum in Oxford with family & was inspired by a Chinese Coromandel Screen: http://jameelcentre.ashmolean.org/collection/7/10223/10232/all/per_page/25/offset/0/sort_by/seqn./object/17562 The aim will be to produce a lightly-animated picture - I plan to follow the layout of these screens & have a main central picture, with the panels around the edges showing close-ups of different camera angles on parts of the scene. Characteristic of these paintings is the use of perspective where the horizontals & verticals are straight & there is no vanishing point. There is one type of Camera Projection in Cinema 4D that emulates this type of perspective - the 'Gentleman' projection. I quickly discovered that only the Standard & Physical render engines can support this projection. I had hoped to use this project as a test-bed for Cycles 4D but although it can do true Parallel cameras via it's 'Orthographic' option, it doesn't have anything like the 'Gentleman' projection with straight verticals & horizontals. Octane lacks even true parallel projection support, so that was out. It seems even Pro-Render can't support this projection, although I'm far from convinced it's as good as Standard/ Physical anyway. Ultimately the perspective is more important than the render engine - I don't want to just make an isometric compromise. I'm at least using it as a chance to finally explore node materials & the PBR workflow - using reflection as GI. I'm leaning on the excellent 'Chinese Patterns' C4D content browser download from right here on C4D Cafe. For plants I'll be using Forester as always & I've just begun to introduce some. Obviously the composition & landscape is super-WIP right now, although I've put a fair bit of time into modelling the buildings.
  2. 1 point
    And one more thing. If you do not want to add too many polygons, then your problem (if they are only shifted to the bottom two bottom points) will partially solve the intersection of the quad into four triangles. Diagonally. As in the example below. But of course, the more divisions, the better.
  3. 1 point
    It worked man, thanks! needed to make the Sweep a child of the iphone and keep the line strictly on Z
  4. 1 point
    you don't have to un-bind anything. just add your joints and controllers as a child of the head joint of your mixamo rig and paint the weights for those joints in.
  5. 1 point
    This scene file should help... Radial Cloner CBR.c4d So, initial object is placed at world center. Spline is a 2 sided nside set to 200 cm, made editable, and has its axis aligned to Z max. That is placed or snapped to the box then made a child of it. That goes under a cloner, in radial mode, and then we just need to set the amount of copies and an appropriate distance in that cloner, which in this case was 200 cm like the spline, which is why they meet in the middle. CBR
  6. 1 point
    I think it got introduced in R20. It was either directly my fault(as some changes were made in R20), or it was someone at MAXON's who did some minor re-org of it after the changes were made, which introduced a priority issue. But I believe it's a relatively new issue. If you find the object that is lagging, it's probably the controller, which is driving the joints etc). If you were to adjust the constraint tag of the null that is driving the controller, make it like 1 number bigger, it might solve it. Otherwise ill need to crack open the file and check.
  7. 1 point
    it's been a while since i used the advanced biped, but i know that priority issue wasn't there when i used it. just tried it with r19 and r20 to be sure, and it works just fine in those versions.
  8. 1 point
    Implementing a fix is hard, but I can tell you how to fix it. It's just changing one of the priorities of the constraint tags I believe. I don't have it in front of me though.
  9. 1 point
    And the day has been saved by @Cerbera Thanks Will have a play !
  10. 1 point
    Thanks so much, cerbera! Your erudition and counsel here on the Cafe is a godsend. Where can I obtain a Hexasphere, just for visual comparison?
  11. 1 point
    That, my friend, is a pole, specifically a complex pole which means that a single point has more than 5 edges converging on it; in this case many more ! Why do our primitives make / use them ? Because they most accurately give a properly spherical shape, and a lot of the spherically derived forms people try and make require that polar layout where the edge flow makes sense for their models - think eyeball for a good example of this.. The Hexasphere, which doesn't have a poles problem, being as it is a rounded cube essentially, might be much superior from a topological point of view in that it has no poles, but actually it isn't as perfectly round as either a standard sphere or an icosa sphere ! That is why we need both options. CBR
  12. 1 point
    CBR, thanks so much, thats totally sorted it out, and (I think) helped me understand the logic behind the issue. I did actually consider subdividing the polly, but usually we are all about using as few pollys as necessary, particularly in this instance as the actual thing is going to be cloned allot... I've also noted your second example of re-setting the UV correctly, but this isn't actually what I want in this case. I'm using Xpresso to deform the cloned polys and want the texture to be streached as they deform, but thanks for explaining why thats 'wrong' and why cinema is struggling to understand what I want. Thanks!
  13. 1 point
    Trying to contact you over PM concerning C4D training. But C4D cafe says you can't receive messages? Tnx
  14. 1 point
    It is quite difficult to explain what is going on here, but I'll have a go. This problem stems from the fact that you are trying to UV just 1 polygon and trying to project it incorrectly, which is kind of in opposition to what Cinema is expecting you to do. I haven't got time to go into the long, tedious and complicated reasons this is the case with a single poly, but it is the case, and to solve it you need more polys in that shape... For example... here I have a similar setup to your own. First frame: 1 poly. There is simply not enough information here for Cinema to know HOW it should stretch in between the 4 points. We might imagine it would make sense for it stretch from the center out, but nothing has told Cinema that, so it guesses arbitrarily. Second frame: 10 vertical edge loops added to model - UV substantially improved, because now Cinema has been given much more information about what should happen between the borders of the shape. 3rd Frame: 20 horizontal edges added to model - UV result even better because now it knows what to do in both directions. But, if we actually want a correct UV result, which in this case would be this... ...then you do only need the one poly, and just need to re-project it accordingly (I did frontal projection from top view here) once your model is correct... Hope that makes sense - I appreciate it is not exactly intuitive ! CBR
  15. 1 point
    If it's any help, here's a skull I made earlier, and here's the polys I would select from it to extract to a new model for making a mask... I would extract these single surfaces, connect them all into a single mesh, build a new teeth section, then add new thickness to everything using polygon extrude. This one uses symmetry and has a separate jawbone and teeth. Making the teeth a part of a single contiguous mask surface is by far the most challenging thing about this sort of project, but again, the regular modelling tools can do it if you have the time, skills and patience... The main difficulty in this case is making the segmentation on the teeth suitable for connecting with the surrounding surfaces, which would require quite a high level of topology solving experience. There may be ways to cheat that, like for example the collision deformer, or the Volume Builder in R20+ but nothing will get you as good a result as doing it by hand. My advice would be that if you have separate teeth you might as well build a highly simplified new teeth section and connect that with the rest of the model. Also use symmetry so you only have to do half the work ! CBR
  16. 1 point
    it's actually quite simple: if you want to make it as a freelancer while being specialized, you need to be really good in your field to get gigs constantly. that's why i'm a generalist the other important question you'll have to ask yourself is what is more fun to you. for instance my personality doesn't really allow for being too specialized, i get bored too quickly. i would hate doing just character animation each and every day, even though i love doing it. so diversity in gigs is important to me in order to keep my sanity (sort of). i've been freelancing for 18 years now, and to me variation in jobs is the best thing about it. if i would want to do the same thing every day i could as well be employed. edit: happy new year to you, too
  17. 1 point
    I take it back. I just had a look at it. Indeed, there is a priority issue. Unfortunately, it would be an enormous task figuring how to fix the priority since its already a complicated rig. Fortunately, we have @BretBays here, who I believe worked on the creation Character Builder/Object, correct me if I'm wrong.
  18. 1 point
    Fwiw, you dont have to do the disabling step. Just click set bind pose and youll see it jump and be good to go. you can check for the issue by toggling the checkmark though. If it moves then theres an offset from the bind pose typically if youve bound them go back and readjust this will happen. Any adjustments made after binding would require you to reset the bind pose of the weight tag.
  19. 1 point
    Got something new! Made this for my girlfriend for Christmas, printed on Plexiglass (60x40cm). Rendering took ages because 60x40cm @ 300DPI is kind of a ridicilous amount of pixels Rendered with Physical Render and inspired by Rik Oostenbroeks awesome Artwork.
  20. 1 point
    Yes, you can go to the attribute manager's 'Mode' menu -> 'Configure Modes' & uncheck 'Tool'. Then you can go to Cinema 4D's main 'Window' menu & choose 'Attribute Manager'. Drag the 2nd Attribute managers swatch onto the first one to make them tabbed. Configure this 2nd attribute manager's 'mode' & uncheck everything except 'Tool'. Right click the tab of this 2nd attribute manager & choose 'Rename' & call it 'tools' - now you have a seperate tools manager & tool settings won't appear in the main one. Save your layout. Alternatively, with the object's attributes visible in the attribute manager, click the '+' icon in the manager's top right corner - It will create a 2nd attribute manager locked to the object's attributes, which you can then dock somewhere. This is more of a temporary solution, to keep the attributes handy while you work on something.
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