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Showing content with the highest reputation since 12/20/2019 in Posts

  1. 4 points
    Those that know have missed him while he's been away, but the good news is that the annual hiatus is over, and after a 4 month break Rocket Lasso is back later today ! For those that don't know Rocket Lasso is a 2 hour live video cast that happens on Wednesdays in which almighty C4D Overlord Chris Schmidt takes on your various VFX and Cinema problems and we all get to watch for a bit You can support him over on Patreon or via his website, and he'll be live later at 2 pm CST (8 pm GMT) over on Twitch or via his Youtube channel. So just a general heads up about that. If you haven't seen him before, the video below shows why he is excellent, and someone well worth watching if you are even vaguely into learning, pushing boundaries and generally having fun in Cinema. Here he is explaining the new Field Force Object in R21 more thoroughly than anyone else ! Happy watchings and thanks Chris for coming back for a second season ! CBR
  2. 3 points
    Here is an example with joints/bones as you suggested. I re-modeled a slice of the shape, rigged it and cloned the result. The subdivision generators are just there to create a bit of smoothing. But there are other ways of doing that (e.g. weighting on high res and using deformers with a restriction tag). The animation is on the joints and could probably use a bit of love to look more plausible. package_002.c4d
  3. 3 points
    My film the Raven was selected for the Sunrise film festival in Nova Scotia! I have no illusions that it will win anything but being shown is a big deal for me.
  4. 3 points
    Red Giant is a lot larger than Redshift was and they are very profitable.The value of a company is determined by the value of its assets and the money they make. In both Red Giant is a lot larger than Redshift but not as large as MAXON. This is not a buyout by MAXON like with Redshift but a merger. That means the deal is between the owners of the two companies, not the two companies themself. For that reason neither does MAXON pay for Red Giant, nor does Red Giant get any money. The ownership is changing and the transfer of value is in relation to the value of the new merged company and the way the ownership is split between the parties. Since the Red Giant owners will only own 15% of the combined company in the future, instead of 100% of Red Giant, they are receiving money to compensate. So no, MAXON is not cash strapped at all, on the contrary, we just merged with a company that is not only very good at making software, but also very good at making profits. Please don't spread unfounded rumors.
  5. 2 points
    Rough test render. I need to work on the edges. Render Time 1 min a frame at 1920 x 1080 on I7 3930K 6 Core/12 Threads . I was experimenting with render times so baked out a model. Thing is render mem usage suggests i could have a far higher detailed model but this is the limit of subdivs I could get inside the program. Perhaps I could adjust some prefs to get the RAM usage optimized..or is it a GPU thing ? I don't think so as the GPU has only 12 GB RAM and this model is far more than that. Quality is bad embedded watch on YouTube !! Why model it ? Well the processing time for high detail sub ploy displacement is the issue without a render farm.
  6. 2 points
    Reuleaux triangles are weird https://en.wikipedia.org/wiki/Reuleaux_triangle well, it amused me reuleaux2.c4d
  7. 2 points
    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
  8. 2 points
    @bentraje may be able to offer some help in this area as I know he went over to Maya to do rigging. Dan
  9. 2 points
    Great plugin, a timesaver, using it constantly!!!!
  10. 2 points
    Hello Dan! I am absolutely grateful for you taking the time to explain this! I had no idea about the difference between animation layer/motion clip, etc.. for me, it was all part of the same thing somehow. But thanks to you, now I know the key difference! I will go through this tests before I get on with the animation process (I am doing a personal short film at the moment, with 3 characters, etc... ) so this will definitely save me a lot of time, I can already tell. And I will say it, thanks to your amazing tutorial on youtube, I learned so much more about Motion Clips... an aspect from C4D that i never used for about 12 years I work with the software. It takes the highest amount of care and dedication to make a 1 hour tutorial and post it on youtube. Thanks you so much for your amazing dedication Dan. And I hope you recover very soon from your illness, and be 100% fine very soon!
  11. 2 points
    Hi everyone, I have started work on a new Vertex Painting brush that is based on the sculpting system workflow. Just wondering if there are any workflows in particular that you would all like to see added to this. I started working on it since I saw that the current Paint Tool is so incredibly slow and wanted to make a faster version that works with Symmetry as well as stencil and stamps. Interested to hear your opinions. Cheers, Kent
  12. 1 point
  13. 1 point
    i will remember this! i couldn't reply to another one of your answers (MODIFY ANCHOR POINT OF A JOINT). i noticed that my mixamo rig hips is off center and it was driving me nuts. your solution and steps did the trick and got me unstuck, so thank you!
  14. 1 point
    Thanks for the responses! Here is a file for you to look at. @Noseman, I tried your approach and it helped but the kink remained, just moved closer to the end so I feel like I'm still missing something. I also found a cheat by reducing the end growth to 99%. That seems to do the trick but just curious if that's the best solution. Thanks again! Helix_Sweep_Issue.c4d
  15. 1 point
    Not me. A lot of my job is repairing the awful topology generated by these programs when clients find they actually need them made properly for later animation etc. There are hard surface workflows in Cinema that are just as fast as in CAD programs, and i have a lot of helpers like Quad Remesher and HB modelling bundle, so for me it's easiest do everything there and not generate the rubbish topology in the first place ! CBR
  16. 1 point
  17. 1 point
    Unfortunately this is a known issue, and although there's a way to make the problem less visible, you may not be able to totally eliminate it. Make a cut to isolate the part of the road that clips under the Camera View, and then go and subdivide that polygon a few several times. THEN go and Generate the UVW Coordinates. Another method, which will work for the original geometry but won't help you if you're going to fracture it, is to make a Copy of the Solved Camera on frame 0, remove all keyframes and use that one as the projecting camera. You may need to crop the final render to remove any gaps in both methods. Here's the Road Polygon Object with "correct" UVs. Just copy and paste it to your document and apply the material using UVW https://www.dropbox.com/s/lubkzxki7k2i0hx/Road.c4d?dl=0 Cheers Noseman
  18. 1 point
    Have fun guys. So glad I don't have to do this behind the scenes work anymore
  19. 1 point
    Awesome, thanks for Sharing Igor. As I grew up watching these actors in their younger years I can relate to how well they did. There is still room for improvement as I could pick something up in the eyes that didn't quite fit, a slight nuance, but hasn't new tech done some amazing things. Dan
  20. 1 point
    Your SSD manufacturer may have a migration app that will transfer your operating system from the old drive to a new one. Samsung have such an app. Saves on reinstalling stuff.
  21. 1 point
    Inspirational, very artistic, I'll give up now
  22. 1 point
    CV-AR gives you the vertex movement of the face and it also gives you the blend shape values from ARKit that you can use to drive your own Pose Morphs to control your own model of a face. If you want to have a face talking on your own mesh then you would need to create the blend shapes yourself (using FACS is good) and then drive them using the blend shape parameters from the CV-AR. The Xpresso setup that CV-AR gives you is a good starting point to see how this can be done, but you don't have to use it if you don't want to. You could also drive a rigged model using the blend shape values as well, but that would need a different xpresso setup. Hope that helps.
  23. 1 point
    I've put this in the Octane Category for now, which is certainly better than where it was - Introductions, where it definitely shouldn't be ! But your question doesn't actually relate to specifically Octane, as displacement works very similarly in all renderers, so I might move it to Texturing and UVs later if it transpires that the advice you're getting is generally applicable. Displacement is driven by a grayscale map usually, though that may be generated by a procedural noise if you use the displacement inside native Cinema. Where you are using procedural noise, then the principal factor involved in that is randomness, so you don't so much control where the displacement happens, as keep flicking through random noise seeds until you find one you like ! But if you need specific control over where the displacement occurs, then you need to UV unwrap the object and then prepare a displacement map that fits the UVs you have created. You can either create a UV mesh layer then design this map in Photoshop, or Octane my have ways of baking its own noises into material maps. CBR
  24. 1 point
    Yeah, it sort of works That pole in the middle of the disc is affecting things in a negative way, but I like what you tried to do with spherize. TBH in your file what you were trying to do was radically different from what I was imagining you were asking, so as long as you're happy, hey ? CBR
  25. 1 point
    That looks really good. would you please also send the file? yea I was using a different version about a year ago and I was inactive till now that I felt I should get back to C4D. I will update it. Thanks much for the helps
  26. 1 point
    Oh I see you are using Delaunay caps, which means your profile version is wrong - please update that to minimise confusion. The reason your fur looks like it has gaps in it is not primarily down to the amount of hairs or the distribution of polygons in the object. You have a range of other factors contributing to this. For example look at this full and furry effect I am able to get on your letter just by changing a few things about the file... Things I changed were: 1. Added (even) more points into splines, and turned on regular grid in Extrude. 2. Swapped Fur for Hair 3. Adjusted guide length up to 3 cm. The shorter the hairs the more gaps you will have to work harder to cover. 4. Changed hair thickness to 0.1 /0.01. Now it looks like fur again. 5. Added 10% general frizz which goes a long way to covering any gaps. This, and curl and clump all help making hair be less straight and gappy. 6. Activated the Length Parameter in the hair material, and allowed 20% variation there to disrupt the previous too perfect fur outline - nothing in nature has equal length fur ! 7. Decreased render hairs to just 500,000 - that is all we need now. 8. Lost the Physical Sky, and replaced with 2 omni lights with soft shadows, which is the sort of lighting that makes hair look best. 9. Changed aliasing to best 1 x 1 / 4 x 4. CBR
  27. 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.
  28. 1 point
    And the day has been saved by @Cerbera Thanks Will have a play !
  29. 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?
  30. 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!
  31. 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.
  32. 1 point
    These are the content libraries which give you the predefined ready-to-use objects, scenes, and materials. There is no "best" one as they all contain different things. You download all of them, naturally.
  33. 1 point
    ah! ok, i will check out the link. i had no idea i posted in introductions. thanks
  34. 1 point
    You realy have to understand how this works in reality. The weight of the object is one factor, others are the length of each rope and it's tension. In reality not all ropes will have the same tension so some will be taught and straight while others will show slack. Your image on the left shows what it would look like to hang a heavy object from rubber bands, the right one shows a light object on steel cables, except for the lower left rope which defies gravity.
  35. 1 point
    I saw it coming Cerbera. somehow I knew the only proper approach for a satisfying result is to poly model it I'm not in a rush, this is self challenge to practice modeling. so I will definitely go with a mix of points (A, and B). The reason behind Spline Patch idea was, I thought I can tackle the bottom details as a compound shape, subtract intersections with splines but wasn't happy with the result, I'm glad I didn't buy the plugin, I'm sure it is useful, but I'm not there yet. It's a new day here, I will start over, and will share the progress. Thank you big time
  36. 1 point
    I suspect E-on are going to have to work quite hard to repair their reputation with Cinema users, comprehensively shattered after years and years of crash-happy PoS Vue software, no updates and ignoring support emails drove us all up the wall, and a lot of us to uninstall it altogether ! I have read a fair few threads here over the years expressing peoples' frustration with them. That and their OTT pricing provided little in the way of incentive to persevere with them. It's a shame, because at one point it had a lot of potential before things like Terragen and World-creator came along, and made Vue look rather antiquated and inferior. I don't know that they can ever win me back - the other things seem more reasonably priced for what you get and still rather better IMO - compare the demo images on Eons site versus either of the 2 I have previously mentioned - Vue doesn't come out of that comparison well, and they now only do subscription, which costs more than Cinema per month, which nearly everyone will hate, and seems ridiculously overpriced to me... But, in the interests of fairness, those other 2 aren't without their own problems - TG has an initial learning curve that is a bit like a vertical wall, and WC, whilst a joy to use, with its extra shiny GUI and a fairly gentle slope into its sensible intuitive workflow, needs a pretty high end graphics card to work fast enough, has some reliability issues of its own, and you couldn't exactly call its plant library extensive. But it is £300, perma-license, which is a lot of bang for buck, and its terrains are properly breathtaking and real-time, which is an amazing thing to see... can you tell ? - this one wins that battle for me All offer demos, so best bet is to try them all and see what you like best for the price... CBR
  37. 1 point
    (Full) Maya's animation toolset is fairly well accepted to be the best there is in that it is the most capable, and well-featured (and has been around the longest so is industry standard), but I'll bet my bottom dollar that Cinema's equivalent systems are easier to learn and use and arguably faster to set up, if they are not quite as comprehensive. I also think Cinema rigs look better, but that's personal opinion and extends to the rest of the program as well - but I have never been that keen on the way Maya looks and feels. Our FBX import is pretty decent too by version R18+ but I suggest you test the rigging aspects of that yourself using your own Maya rigs in the demo of Cinema before you decide... CBR
  38. 1 point
    Wacom is definitely the more useful and perfect way to navigate through scenes, and do everything you need in a computer, replacing the mouse entirely as soon as you get the hang of it. With that said, if you have a mac computer, I would suggest keeping the ipad pro and the apple pencil as well. For navigation and everything else, wacom is the best, but to make drawings on the computer directly from outside, nothing beats Ipad Pro and Apple Pencil. Of course, the sidecar thing from apple is horrible at the moment, but there is an app called Astropad, that basically turns your ipad pro into a Wacom Cintiq, transferring the computer screen directly to the ipad. I used it many times during tough productions, and the astropad has always been a brilliant app for that!
  39. 1 point
    I have used Crazybump in the past (and I particularly like the way it refers to us as puny humans ), and it is nice to use, and relatively straightforward, but for some reason I feel a lot more in control of my textures if I am making them manually. CBR
  40. 1 point
    Righty - let's get this done... 1. In the same scene as your mannequin, get a sphere, with these settings (primitive menu). I am using a random human mesh instead of the mannequin. We need to get a cloner now, make the sphere a child of it in the Object Manager, and set it up like so... In the Object Field above (which will only appear when you change the cloner to Object Mode), drag the mannequin from the Object Manager into it. This will place tiny spheres on every point of your model, and you can now adjust their size in the sphere attributes until they look right. Now you can hide the mannequin mesh from viewport and render with the 'traffic lights', the 2 dots to the right of that object, like so... . Now you should only see the spheres in VP and render. Lastly we need to texture the spheres so they glow white. Add a new material to the Material Manager, apply it to the sphere (drag material swatch to it) and then give it these settings. First, double click the material, and in the Basic tab of the window that appears, enable Luminance and Glow, and turn all other channels off. This makes those tabs appear in the Material editor too. In the Luminance tab, make sure the colour is white, and brightness is 100%. Leave everything else at default. In the glow channel, use these settings or similar... Lastly, tweak all these settings until you get more what you want, then pop to Render Settings, check it is using Standard, and in the Aliasing tab, set that to Best. Now you can render your animation, which if all has gone well, should look something like this.... As I said before, the glows in Cinema aren't great, so if you'd rather do those in AFX, then just leave the glow channel off in Cinema. I am not an AFX expert, so not the best person to explain how to glow stuff there, but again, a search for After FX glow on Youtube should find you tutorials. Hope that helps... CBR
  41. 1 point
    I agree. Didn't expect this plugin to exist for so long, before being overruled by the updates in the native UV tools. It seems MAXON is finally ready to provide updated tools, looking at the recent tweet from the CEO. Looking forward to what these UV updates might be. Hope that these don't introduce even more issues than what MAXON did with the new GUI. Anyway, Seamilar has turned 3 earlier this month, maybe it's time for a new name for next version? The first and second iteration of the plugin were heavily based on the "seam" part of the unwrapping story. Hence the plugin's name. With the next version we'll focus more on the editing part of the story. Not neglecting the already available tools from the current version, but extending them. Adding more possibilities. Making it easier to use. Changing the small things that have a large impact. My only wish is that by then MAXON has fixed the issues in R21, so every plugin at least behaves as it does in previous releases. Anyway, let the new name roll in ... I am open for suggestions.
  42. 1 point
    Oh sorry. I meant to select R19 but miss clicked somehow. Let me get that changed. Thanks for pointing that out !
  43. 1 point
    Fair enough - you may get lucky Alas I don't have it myself... Festive sleighbells ! CBR
  44. 1 point
    Just thought I'd mention that I made a video about this plugin
  45. 1 point
    Yes. You can do it with point level animation keyframes, or indirectly with Pose Morph or several other methods. Easiest way is just activate the button on the end of the timeline (the only one deactivated here). CBR
  46. 1 point
    Everything I am making works in R20 and above on both OSX and Windows.
  47. 1 point
    Yeah you're overthinking this. If you're a client, they just want to see cool sh*t you've done before. They generally couldn't care less how you did it or what systems you used. Unless your client is some agency or 3rd party looking for a specific skill set, in which case they tend to ask, so again the showreel doesn't necessarily have to showcase it - just be good enough that people want to enquire further. Make your show reel generally the best stuff you have ever done, edit it impactfully but tastefully, get some cool tunes behind it, and it doesn't need much more thought than that to be honest ! CBR
  48. 1 point
  49. 1 point
    I hate to say it, but if C4D becomes part of Adobe's Creative Cloud that is actually a better deal than what MAXON is giving us today. Creative Cloud has more software options, cheaper price, true monthly billing plus cloud storage. It is truly a sad day when you start to prefer Adobe over MAXON. What has become of this world? Dave
  50. 1 point
    me too. I made my decision, I did not renew MSA and won't pay subscription so I am out. edit: an ignominious ending or beginning to a once leading 3D software.

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