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Showing content with the highest reputation since 04/03/2020 in all areas

  1. 3 points
    Hey everybody! Recently I found this little but very helpful tool called PureRef. You can pay for it if you want, but it's generally free. It allows you display multiple reference pictures in a small standalone window as well as move, rotate and scale them freely. You can even set up a transparency and have them always on top of C4D for example. You can also just drag and drop images out of your webbrowser into the software! No more fiddly saving first!
  2. 1 point
    The way I view Houdini is as an extremely power VFX tool that can handle massive data sets. Movies like San Andreas (the perfect movie for fluid simulation lovers) were done (I think) in Houdini and as such required data sets in the terabyte range. So to get the most out of Houdini, you need some pretty hefty hardware, if not a full render farm. But if you don't have massive hardware, then is it fare to say Houdini is a bit over-kill for the average user. Kind on like putting drag racing wheels on a Volkswagen Beetle. In short, why go through that steep learning curve if you are hardware limited? Wouldn't C4D and X-Particles be a better choice? Feel free to chime in ....if only to get this very interesting thread back on topic. Dave
  3. 1 point
  4. 1 point
    You may well get faster renders with a GPU renderer such as Redshift or Octane but of course they are limited to the GPU onboard RAM and will fail back to MB RAM if they run out..I think , I am not sure so I will not name it, but one of them cannot even bail out when the GPU RAM is exceeded. You may also want to try Arnold, though the GPU rendering is in it's infancy it may well handle the displacement better, same goes for Vray. Give them all a spin see what works. I suspect Arnold will handle the huge scene data best..not sure though. Now I use 16 K textures ( displacement and colour) on my Mars renders and I get by but as I said I am only using these 2 textures on a single sphere
  5. 1 point
    There could be more settings for hair where could be low/wrong/disabled values. Try to open hair object which not work for you in render and select (with Shift) three tabs Hairs,Editor and Generate. If you check Generate tab, Render hair option need to be enabled for rendering hairs. In Editor preview/Display option set Hair Lines option to see "real" hairs in viewport directly instead of guides. And in Hairs tab set/increase/decrease count of hairs and count of segments if needed... Hair material can have low values of thickness etc... If nothing help, you can post scene file only with objects with hair if you want.
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  7. 1 point
    You and me both. Mine keep trying to buy me drinks and pay my rent! I haven't slept in minutes!
  8. 1 point
    Nah..every time i try and sleep and get into dream land hoards of nubile women chase me demanding my attention..can't be having that so back to cinema 4D
  9. 1 point
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  11. 1 point
    OK. We need to see your render and / or GI settings next please... or even better zip the scene file and assets, upload them to dropbox and link that instead. CBR
  12. 1 point
  13. 1 point
    Kevin Barnum´s Control4D? http://www.kvbarnum.com/control4d/
  14. 1 point
    That is infinitely more difficult than you think. (I once wrote an alternative SpaceMouse controller for C4D - CollieMouse - and it has tens of thousands of lines...) First, the signals from the mouse are sent to a window (I'm talking Windows here, but I cannot imagine it being much different in MacOS). The C4D API does not provide any control over the message queue of the main program, nor does it allow you to open a window of your own, so you have to go through the Windows API to open your own. Then, reading these signals requires control of the message queue, including waiting for the proper signals as defined by the mouse driver, so you need to create a thread in C4D - otherwise waiting for signals would just freeze C4D altogether. Your thread will need to communicate with a plugin in the main thread to perform the actual camera movement. Finally, the camera movement depends on camera settings, viewport settings, and pivot placement, plus there is the question whether you want to rotate or translate - perhaps even move objects, but I never bothered with that. Oh, and you may want to have a GUI and Preferences settings for the whole thing. Thus, "a little scripting" will not happen. (It depends on the API for the mouse driver that the manufacturer provides whether it's possible at all without a ton of debugging and reverse engineering.) That said, there used to be a multifunctional plugin that was able to gather various input signals and allowed to connect them to various targets. I forgot the name and don't know whether it would still work with current versions of C4D, but I believe it could use generic joysticks. That may be an option here - I'm sure someone else will remember?
  15. 1 point
    This, or variations on it have been asked and answered before on the cafe. @bezo has a good tutorial video on the correct process for baking cloned dynamic objects, which you can see here. However, this does not work with instanced objects placed directly in a cloner. Not 100%, but I don't think you can. You can still use instances elsewhere in the scene, but not inside the cloner if you want to bake its dynamics AFAIK. CBR
  16. 1 point
    Been listening a lot to Max Richter. Relaxes me, and puts everything in perspective. Great way to concentrate. https://www.youtube.com/watch?v=WuvZWDsl1I0
  17. 1 point
    - from bottom object remove dynamics body tag and add new one (or clear cache from old tag) - in spring settings change attachment B to different mode (use polygon point (set point index) or point selection mode)
  18. 1 point
    Very nice. Happy modellings CBR
  19. 1 point
    Everything is a song ..Everything is a dance to us but I get your point..I take 3 steps back and bow in humility
  20. 1 point
    I assume you mean "Materials" not "Textures" as you're talking about displacement as well. Generally SPD is very, very slow in C4D Standard / Physical render. You can migitate that by reducing the number of subvisions in the material. You can also make a seperate material with even lower or disabled displacement for objects that are further back in the scene. Your third option would be to subdivide the geometry by hand and use the texture in the displacement channel of the materials as input for the displacer modifier. I had some success with this in the past as the render does not need to precalculate the subdivision every frame, instead it's already done in the scene. Makes the realtime preview a lot slower, but generally renders faster.
  21. 1 point
    I'm not the person to help with this as I don't have ai, but thanks for uploading the file - now the people that do will have everything they need to diagnose.... CBR
  22. 1 point
    'Word' (as I believe the young people might say). I find it very hard to believe they were 'armed to the teeth' as well ! If anything, they would have been sitting down peacefully, having a protracted discussion about philosophy, or trying to get some sleep during Colonel Steinbach's annoying racket while he was misguidedly trying to subjugate them ! CBR
  23. 1 point
    Hi Cerbera, thanks for your response i'll try the retopo one as im not so familiar with FFD deformer.
  24. 1 point
    I made this, its a sphere scaled in the Y then used the Plane Cut tool at the angle I want snapping from and to a vert on both sides. i then dissolved the edges not wanted. I used the Plane cut with 3 cuts to get the tight crease. I only repaired one side, deleted the other half and used the mirror tool. I then bridged the gap with quads. Dan
  25. 1 point
    You can begin with a horrible boole but then then tidy up after it, and re-topologise the top into quads. Or you can begin with the flat surface and manually extrude edge loops down into the rest of the shape. Lots of ways to go here. If doing the latter method I would start with a disc object with an FFD deformer on it to get the basic disc shape, then apply that, and carry on from there using the minimum amount of polys to describe the shape, and SDS to add your final smoothing. I'll add some files later that show you in more detail if you are still stuck. Or you could just whack an egg-shaped solid and a cube (subtract mode) in a Volume builder and do it without modelling at all, which would at least give you quads, if not directable edge flow. CBR
  26. 1 point
    WOW! Thank you sir! It's glad to hear that I get in into right track I will gonna try! Super Thank you sir! Ahbin
  27. 1 point
    Very nice result... CBR
  28. 1 point
    Thats Ok, i messed around with the voxels and more or less got what I was looking for. Thanks again for your help, I appreciate it.
  29. 1 point
    This tutorial from The Pixel Lab is an oldie but goodie but I think there is more control with yours.
  30. 1 point
    That is not strictly true, either in the real world or in 3D space. But your point remains 'Is SSS going to be the right way to go here ?', and like you, I speculate that 'No' is the answer, because in terms of meaningful thickness it can use I think you are correct. I also agree that the backlight shader is a good thing to try next, and course you must have no thickness in your model for that to work properly. However, implementing that might be awkward to an extent, and still might not give the effect you are looking for, because ultimately, that shader is designed for lamp shades and situations where there is light behind the surface in question, something that almost certainly wouldn't be the case if your petals are on the ground or floating on water. But the only way to know is to try it and see, and doing that might involve preventing your back light (the light itself) from being occluded by the ground / water surface, which you can do in the light properties / include tab. CBR
  31. 1 point
    Menu (R21): Spline -> Tangent -> Hard Interpolation
  32. 1 point
    Hello, I am looking for anyone who has a version of Cinema 4D Studio that I could purchase from them. I'm looking for any version R10 and up. I have no set price at the moment, so please feel free to contact me. Thank you. -Toby E-Mail: tobygdavis@hotmail.com
  33. 1 point
    I can clarify that. First off, in English, the word 'Seam' (here meaning the area where 2 UV islands meet) is a different thing to the word 'Seem' (meaning 'which appears to be the case'). Secondly, you do in fact have 6 polys in your mesh, but you haven't UV'd them correctly yet, so they appear in the editor overlaid atop each other, so that it looks like just a single UV poly. You are getting away with that here in your result because the edge thickness on your leaf is so tiny, that the human eye doesn't notice that the material on them is technically wrongly mapped. CBR
  34. 1 point
    If only anything Carpenter Brut made came close to this song I love it everytime it comes up, but the rest just pales in comparison.
  35. 1 point
  36. 1 point
    Play it often...play it loud
  37. 1 point
    The cap looks like it should be shinier than the bottle (less roughness). Are you using a separate material? Are you using the physical rendering engine?
  38. 1 point
  39. 1 point
    Because that is not how deformers work in Cinema. They work as children of geometry objects or in a group null with other geo objects, and in only a few other specialist circumstances, of which the cloner is not one.. You can't use a Cloner or an Array alone for this purpose because when you go to make it editable (as you must for it to be able to affect the geo) there will be nothing in it. So to do that we need to insert some dummy geometry roughly the same size as the falloff / bounds as your deformers, and with the deformer as a child of that object. Now you can array or clone that instead, make the cloner editable, select the parent objects that creates and Delete Without children to leave just the deformers in their correct positions, but now you can drag them all directly under the torus and they will all affect it. CBR
  40. 1 point
    What you have there is pretty similar to the reference - are we talking about the minute differences here ? If so it would help if you could specify what you are unhappy with in your version... is it the specular highlights you mean for example ? If your model is accurate enough to the real world equivalent, all you should have to do to vary that reflection is move the lights about in the scene, or add specific luminant reflection planes (that are otherwise hidden from camera with compositing tags)... CBR
  41. 1 point
    Correct, and it makes even the simplest C4D operation seem incredibly complicated in Houdini. By comparison, MOPs is incredibly simple and intuitive.
  42. 1 point
    Cairyn & Jed helped me convert some old COFFEE code into python to breath new life into this rig for an analogue wrist watch with chronometer (stopwatch) & I thought to share it here. I can't really take credit for it, it was hacked it together from another free setup downloaded years ago - unable to credit them with the details unfortunately. Hope it's useful for someone! Watch_XpressoRig_200404.rar
  43. 1 point
    Apply soon. Some of the programs are first-come, first serve, and the money is finite... I never thought I, as a Canadian, would be giving unemployment advice to a US neighbour...
  44. 1 point
    The reduction in work while all this is ongoing is quite disturbing and more than a little stressy for those of us who make most of our living from 3D. My workload isn't quite at zero, but it's has definitely dropped off. I also had a job that disappeared on me half way through doing it... I was lucky (or unlucky) enough to have spaffed quite a lot of my savings on a new PC just before all this kicked off. With hindsight, as nice as it is to have a shiny new toy to be stuck at home with, I can't help the feeling that I might have needed those savings for other things... There will be additional knock-on effects too. I tried to order a new ipad for my mother yesterday only to find they were out of stock everywhere (UK), with no expected stock date for the foreseeable future, so that could be an issue for people trying to get new hardware for months after this is over... Challenging times ahead by the looks of it, and best of luck to all of us in it CBR
  45. 1 point
    I figured out a makeshift way. I created a spline path along the text curves and simply cut segments of the spline out so that the overlap doesn't exist. Now it's just a matter of resizing the stroke to mimic the width of the text. Thank you for your time!
  46. 1 point
    Considering the old-school-ness and correspondingly rather limited capabilities of Pyrocluster, the last 3 seconds of that are actually getting pretty passable, but the preceding seconds could definitely benefit from some extra love... I would increase PC quality settings a bit in addition to the advice above, at the expense of longer render times, and then get some lens-flarey, glowy post action going to obfuscate the flames, which I'd say are the weakest part of this at the moment... and I would try and remove the darker bits from the edge of the flames because they are making it looking 'pre-composited.' which is something we should avoid if we can... Also I think you want an orange light (visible / volumetric or otherwise) up the back there so the light on the craft itself can approximate what is happening below it. CBR
  47. 1 point
    When we look at your base mesh, with its horrible overlapping / intersecting polys, it is no wonder we get this sort of result even despite the mitigation provided by Subdivision... That tells us that MoExtrude is not the correct tool to make this with - instead you should do it with individual stepped Extrude commands, using Normal Scale (as different from regular scale tool) to change all the polys at once as needed. Using this method you can avoid having to use a step effector, and also any mesh intersection. Doing that, in conjunction with @bezo's suggestions, and also turning off Edge Breaks in the Phong tag will all play a part in eradicating your material problem... CBR
  48. 1 point
    With that much flexibility, do you ever find yourself in "analysis paralysis"? I mean, once you are deep into a project, the non-destructive nature is wonderful, but how do you get started? With standard modeling, you start with a spline or a primitive and then cut, push, pull and/or sculpt to get where you want to be (or what is in your minds eye). It is almost tactile. How do you get there with procedural nodes? You blew my mind when you said "anything" can have as many attributes as you want. Yes...I would be paralyzed. I would imagine that is the bulk of the learning curve....developing the methodology and approach to standard modeling tasks. What I love about C4D + XP is that they are both powerful and intuitive. Together (especially with fields) they are like "Houdini for Dummies"...which is not meant to insult C4D or XP but rather compliment the fact that both programs walk the line between ease-of-use and power so effortlessly. I don't know....I guess this says it all
  49. 1 point
    Octane has a default environment color (all solid). That default is active as soon as no other HDRI is active in the scene. You can disable it in this menu by setting the color to 100% black:
  50. 1 point
    Cool idea, nice you want to use your coding skills for something practical. - Yes, surface distribution of clones in an equal spaced grid, so you can clone evenly on something like a face, without having a lot more clones around the eyes for example. (But this is something MAXON should build into the cloner) But for something a script could do: - Something so I can offset clones in a Spyrical way. So that if you clone with anything else but Radial, you can move clones Up AND Down (and Left AND right) For something like a Grid an extra Gamma curve would be a bonus :)
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