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Showing content with the highest reputation since 07/05/2020 in Posts

  1. 12 points
    If I may, I love Cinema 4D and my intent with my Avatar is not to profess fanatical devotion to Blender. Now, Blender is a good program. It's users do have a lot to be happy about. I did try it when the interface improved with 2.8. But despite those improvements, it is still a bit clunky. Everything is there and for the most part stable, but (IMHO) the UI unnecessarily gets in the way of fully enjoying the program. In short, C4D is a lot more fun to use! So why do I have that Avatar? To serve as a reminder to MAXON's leaders should they troll the site that the hobbyist community does have a pretty valid option other than C4D for our CGI fix. Yes, we could follow the subscription plan, but we are hobbyists....we use C4D for the love of it and not as part of a business model. As for me, should my personal financial circumstances change such that I can no longer afford to stay current with the program, I still want to have something that works and not watch years of work go away when my subscription turns off. You can ONLY keep C4D on with a permanent license and those costs have increased significantly (from $620/year in 2017 for the Studio MSA to ~$950/license upgrade). So my avatar is really part of that old argument of subscription vs. permanent licenses. I am a hobbyist that wants permanent licenses as long as it remains affordable for a hobbyist. Blender as an open source program will always be affordable. Blender gives us options....a reminder for the MAXON employees and CEO who visit the site and not intended to disrespect its members. Dave
  2. 7 points
    So.....tomorrow is the "MAXON 3D & Motion Design Show: The Siggraph Edition" with the Mr. McGavran kicking off the show with: "some exciting announcements and a few sneak peeks at the future of MAXON products" and not one thread about what to expect in the next release in the Cafe? Did I miss something? If I did not miss something and there really is complete silence, then could it be due to one or more of the following? We don't expect anything different than what has already been announced in S22. We finally got an update to the UV editing system in S22!!! Anything after that is anti-climatic. We have no further expectations so there is no point in speculating. We realize that speculation is pointless...so why bother. We will get what we get....so just wait for it. Mr. McGavran's R21 Siggraph presentation spun the room with the announcement of subscriptions which was the bulk of his presentation. As such, we don't remember that presentation for its feature discussion because we were all in denial. Based on that experience, which was a shock to everyone's system, we are fearful of what he has to say this year and therefore don't want to talk about it. In short, we still have PTSD. Usually by now we would have a 3 page thread going with everyone pitching in their hopes and dreams. In that discussion, which can switch from civil to nasty with one post, there would be: The usual list of features covering the same areas of the program in need of an update. Some really valid points being made about features we never knew we needed. Arguments raging over why do we have to wait so long for much needed features - including those we never knew we needed until they were mentioned in the thread. A well timed post from 3D-Kiwi about life after MAXON. Predictions over MAXON's future which only generates more controversy. At least two threats from the moderators threatening to shut the thread down if tempers continue to escalate. A few posts from brave MAXON employee's trying to be the voice of reason. ....hmmm.....maybe the silence is better. Dave
  3. 7 points
    4D Paint is now FREE!! Available for R20, R21 and S22.118 on OSX and Windows. No licensing required. Just download and have fun. More info here:
  4. 5 points
    Basically, yes. The Neutron node system is the basis for all new features going forwards. In its current state though it isn't something most people will want to use directly; it is super powerful but like any node system, not the kind of interface everyone would enjoy using. The next step to be taken is to create a new object manager which acts as a much more friendly, day to day interface for the nodes which should look much more familiar. When everything is in place, you will be able to choose to continue your c4d life with a new object manager, benefiting from the huge speed increase and all the new user-created assets that will hopefully come from this. Or, as and when you desire, you will be able to open objects up and dive into the node system when you need more power. The speed increase will vary from scene to scene, but the biggest gains will be in projects with large numbers of things, ie. objects, tags, keyframes, clones etc. These projects have always been held back by c4d's object manager implementation. If a project is held back by physics sims, then don't expect any speed improvements at all, that would need a new physics engine to help there. However some test projects are showing 10x speed increases in viewport performance, others are showing 1000x improvements. In fact depending on viewport settings and how well the new viewport turns out, some projects are showing north of 10,000x speed bumps in terms of handling large numbers of objects. How well this all translates into real world performance will need to be seen, but what this all represents is the upcoming removal of c4d's biggest bottleneck. You'll be able to have a go yourself in the next release, but expect another release or two after that before it is well enough supported by render engines, plugins and internal c4d features before you'd want to start using it in live commercial jobs.
  5. 4 points
    I just wish MAXON would make an Indie version of C4D that's a bit more affordable for hobbyists. The affordable cut down editions were great for that (Mograph edition had enough features for me while being significantly cheaper than Studio), but they have been eliminated.
  6. 4 points
    Although I don't post much these days I check in several times a week. Yeah I watched the Neutron preview and it looks awesome. Had MAXON released this while I was still using C4D I would likely still be here. In my opinion Neutron is a lot further along in development than what they may have hinted at. They've been working on it for many years. They were certainly working on it when I was a Beta tester but we were never shown anything. Hope you are all doing well. Life is good here in New Zealand with no Covid-19 and the only cases being people caught at the border. New Zealander's returning home all have to go into managed isolation / quarantine. Those of us that still have a job are all back at work and life is pretty much back to normal. Yeah still riding my bike a lot, still using Modo and modelled a number of big Lego models when we were in Lockdown 2 months ago. Modo's core is being upgraded like C4D's. Development isn't as fast as what people would like but they are making progress. Stay safe everyone Nigel / 3DKiwi
  7. 4 points
    Really? Neutron....and not Neutrino? I mean, which one works better for you? This one: Or this: Honestly, you folks resonate more with the first one in my book Dave
  8. 4 points
    @paulselhi Here it is! @Igor I agree. When I was playing around with shading the smoke, the smoke is actually following the same motion as the fire. When I make the smoke darker it completely enveloped the same, as if it didn't have its own motion, I will do research on fire, and I thank you for taking a look. @3D-Pangel You were right, X-Particles may be intimidating, but once you dive in its not that scary, just take it in steps.
  9. 4 points
    Another short little video I forgot to post. Not much 3d in this one but the fly's were animated in Cinema 4d and rendered with Octane.
  10. 4 points
    I have been using "Set Selection" on many occasions. Be it to create selection tags to apply different materials to an object. Or simply as kind of a clipboard to temporarily hold a set of selected polygons during modeling. However, in most cases I do not have enough with a single selection tag. It can happen that during a modeling session I need a few temporary selections, to be picked up later in the process when I need to work here and there on a model. As such, in the past I had a love-hate relationship with the "Set Selection" command. It was a very useful tool, except that it required me to always deselect the newly created selection tag before I could create another one. Reason for this is that if you perform a "Set Selection" with a selected tag, the newly selected items would be merged into the selected tag ... instead of being created in their own separate tag. I mostly use the Commander to quickly type "set se" and press enter. Or I would add the "Set Selection" icon into a modeling palette and dock it in the layout. Still, in order to be able to create multiple selection tags, I would need to execute the command, deselect the tag, and proceed with creating a new selection. NOT ANYMORE ... It finally annoyed me so much that I spend some time writing a script to provide the functionality to perform a "Set New Selection" ... NOT overwriting the current selection tag. This script will create a new selection tag of its own, use an appropriate unique name (just as the native "Set Selection"), store the selected items be it polygons, edges or points. I call it: Set New Selection. The good thing is, that you can execute this script from the Commander, or drag the icon into a palette and dock it into the layout. AND it can coexist next to the native "Set Selection". Which means you can still use the original behaviour if you want to overwrite a selection tag, or use the new one to create separate tags each time the script is executed. Isn't that neat? Yes, I thought so too! And the best thing ... it's available here, and it's ... wait for it ... free !!! Set New Selection.zip
  11. 3 points
    I really wish they do consider that in the future, an indie version of C4D. Specially now with Maya Indie arriving worldwide to compete with Blender, MAXON needs to start thinking more of its indie users.
  12. 3 points
    Thanks for mentioning the RingLoop plugin @Cerbera @thanuleeOnly wanted to point out that I fixed a bug in the "Ring" functionality, and redesigned the plugin to provide for separate "Ring" and "Loop" commands (on request of a user wanting to be able to assign separate shortcuts). Additionally, I have also made the "Skip" amount scriptable. Example scripts are included in the newest version 0.4 Again, you can assign shortcuts to any of these scripts, allowing for a speed up in workflow if you frequently require a particular skip-amount.
  13. 3 points
    Ringloop - The lovely free plugin on the very front page of this site kindly shared by @C4DS?! CBR
  14. 3 points
    That screenshot in the post is definitely not R7. Interface looks way to fresh imho. Okay, so others in the thread have already explained how texturing for game engines works. It's an entirely different beast to something that you would do in C4D or other 3D software. Unless you're using Triplanar Mapping, probably everything is going to need a UV map. Even a flat plane. A game engine simply does not have concepts like cubic or spherical mapping unless you specifically write a shader for it. I personally have not tried or used kbar's 4D Paint yet but that is mostly because I use Substance Painter / Substance Designer for my texturing workflow. These two tools are pretty much industry standard and they do everything you could ever need for game engine texturing and especially Painter is pretty easy to get into. Photoshop as texturing tool is simply outdated by now and has been for years. People definitely work on diffuse and other textures in it, but they certainly do not use it as a texturing tool. It's too tedious and lacks even basic features for the quality of texturing that is expected these days.
  15. 3 points
    Lovely job with sculpting, lighting and camera work, RS rendering, and sound design in this epic 20 minute music video by OVERWERK... https://www.MAXON.net/en-gb/news/case-studies/advertising-design/article/lost-in-thought/ Awesome level of detail - right down to the dust... CBR
  16. 3 points
    @3D-Pangel That is straight from the Redshift Render Engine, no grading applied, not even bloom. Explosia FX vs TFD: These past few weeks I've gotten to learn Explosia Fx, as well as Turbulence FD. Both have their advantages and disadvantages when dealing with Fire & Smoke, but in essence they're the same. For Explosia it works really well with X-Particles because of the use of Modifiers. Turbulence FD works with X-Particles as well, but there's a bit of a learning curve. TFD is very technical, whereas Explosia FX you can hop on it and not worry about the right values, its just plug and play. TFD has GPU rendering which is huge, if X-Particles had that, TFD would be less favored in my opinion. VDB & Artifacts: When I went over to TFD to redo the render that I did in Explosia, I came across a problem that I never encountered before, and that is Artifacts, mainly when dealing with Density/Smoke. The Artifacts [stepping] look like steps, like a Minecraft cloud. To fix this, you have to make sure that your Density values in TFD don't go exceedingly high, or to be safe, don't let them go past the value of 1. Example: If you set you Density channel to 1 in the Emitter, the value won't go past 1. However, when working with fuel in TFD, it adds Density every second. You can refer to the Jawset Fourm here where we break this down, and tell you how to tailor your channels: https://forum.jawset.com/t/getting-stepping-boxy-renders/1071/14 I'm guessing the value setting in Explosia FX is the Explosia Tag, as well as the Physical Data in the XP Particles. Regardless, there's always some sort of stepping, even the first animation I did, however you won't notice it unless you're super close up, and/or looking for it obsessively. Voxel Size: A smaller voxel size means greater detail of your simulation, it also means longer render times. The new Upres feature in X-Particles is buggy. When I check it on, it does in fact change my simulations. My advice is that if you're Uprezing via Explosia FX, only have the Voxel Size changed, and all of the other values in the Upzezing option, bring them to 0. That way your simulation won't drastically change. I learned that the hard way when I checked on upzezing in Explosia FX, and my render was completely different. Shading Emission & Density in Redshift: If you're rendering the Density channel by itself, which then ties into the Scatter & Absorption Channels, then it's literally plug and play. If you're using the Emission channel however, there's a secret sauce to it. When shading the fire/emission, your Gradient, as well as the Advanced Tab is what you mess with to balance the smoke and fire look. With the Emission Gradient, I have two Black Knots to the left side. I take the 2nd Knot that's to the right and push it just a little bit towards the center, just by a hair. With that, the flames looks sharp and define. Also, if you want more smoke and less fire, taking that 2nd knot and sliding it towards the center gets rid of flames. In the Advanced Tab, playing around with the New Max values under Emission Remap Range can lessen the intensity of the flames, to give the density a more defined look, and messing with the New Max values in the Density Remap Range also brings out the detail in the smoke, BUT if you increase the value too much, you'll get Artifacts/Stepping. Once you know what each value and gradient does...then you'll have better control of the look of your fluids, and from there its an amusement park. I've attached stills of my settings for a explosion I rendered using Turbulence FD. Instead of rendering straight out of TFD to Redshift, I converted the bcf files to VDB, because the VDB workflow is faster [trust me, I did a lot of tests]. My theory is that TFD uses one GPU through Redshift, even though Redhsift can use more then one. It takes a long time to get what's rendered on file with a bcf file. However, VDB files are much easier to read it seems, even though the size if much bigger then a bcf file. Conclusion: Play with the simulation values and see what you get. Learn the terminology of these simulations, like fuel and desnity, so you'll know how they work together. To avoid artifacts, make sure your Density values aren't so high where you'll see stepping; lowering the voxel size doesn't fix the issue [refer to link to Jawset Fourm]. Shading you fire and smoke is the real key to "the look" of your simulations. Know what each parameter is and what it does. Here's a link to Redshift's Volume Render the explains to you what the options do: https://docs.redshift3d.com/display/RSDOCS/Volume+Rendering?product=cinema4d When its ready, I'll post the TFD explosion I made, which are from the stills that you see below.
  17. 3 points
    Occasionally I see something so cool I'll post it here whether Cinema, or 3D in general is involved or not... Today's is one of those, and one to be filed under 'Inspirational', although I have no doubt that some 3D was involved in this video, even if a lot of it could have been (and was) the real life object filmed in flight. I may well model it myself - the forms in the bird are literally screaming out to be Sub-D modelled and animated... So with that said I bring you FestoLabs latest experiments with bioform engineering. Spkrs up - soundtrack as awesome as the rest of it ! Enjoy... Also don't forget to go check out their other robotic creations - the rolling spider is, if anything EVEN cooler !!! CBR
  18. 3 points
    Just added a getting started guide to help everyone get up to speed painting with stamps, stencils and UDIMS.
  19. 3 points
    Thanks a lot CApruzzese, glad you like it:) We work currently on a 1.3 update with some nice tunings and features, and also a 1.5 update, which will introduce a new "tracking" feature (-->> change a value in one shader, diffuse channel p.e, and all connected shaders will update automatic, like shape changes etc. across all the material/s). both for this summer! free to all our customers best greetings Stefan
  20. 3 points
    Ah, the lego master builder and former tutorial maker. You mean 3DMango, right?
  21. 3 points
    What Adrien said. Like Hrvoje i am very much looking forward to the announcement.
  22. 3 points
    And this one is pretty good as well:
  23. 3 points
    You can't. While polys and points exist as object data, edges are just the connection between two adjacent points on a polygon. Without polygon information, there is no edge. You can create a linear spline from the edge, of course. But that's not the same as an edge collection.
  24. 2 points
    Daesu, a Korean historical headress reserved for queens and crown princesses and worn at wedding ceremony. Inspired from @netflixph Kingdom series Rendered in Cycles4D. Interestingly, I have grown fond with the renderer
  25. 2 points
    Pixar or Walt Disney should hire you lol
  26. 2 points
    I started on this awhile back, collecting texture maps from NASA and wanting to add another educational project to my portfolio. I reloaded it with text instead of my lame narration. Sorry for those who had to hear that!
  27. 2 points
    If your animation is based on transformation parameters like PSR they can be wired in XPresso relatively easily. Spline modifier in Range Mapper node can be used to create offset in animation. example
  28. 2 points
    Seeing the answers so far, I may be on the wrong track. Please bear with me, if I'm running into the wrong direction. As I understood the question, the goal is a polygon selection based on Fresnel. Now, for me in this case Fresnel is basically the angle between two vectors (actually I think, it's rather the change of the angle of a ray of light, when entering a material with different optical properties (still way simplified)), the vector defining the direction of the polygon (normal vector) and a camera ray. Now, this could be achieved with a bit of Python. But we shouldn't reinvent the wheel, but instead give some credits to Donovan Keith, who already used the Python tag to create the "CV-Parametric Selection Tag". The CV-Parametric Selection Tag provides us with means to select polygons based on different conditions. One of them being the direction a polygon is facing. This is actually already one pat of the equation, we are interested in, the polygon normal. Now, in order to answer the question correctly we'd need to take the camera ray which hits the polygon into account. But to make it a bit simpler (and also because it's probably not possible with this approach), I will only use the direction from object origin to camera position instead of the actual camera ray. Using these ingredients, I get the following: I doubt, I'd be allowed to upload a scene, because Donovan's tag is actually Cineversity content. Instead, here's how I set it up: A very small and simple Xpresso tag to feed the view direction from the camera into the CV-Selection tag: Data type for subtraction has to be Vector, the "Vector" input of the CV tag is the one from the "Facing" parameter group (see below). And finally the CV-Parametric Selection Tag: As said before, I utilize the "Facing" condition. With above setup it would select those polygons facing the camera with a certain tolerance- That'SA why the "Invert" checkbox is set. Playing with "Tolerance" you can change the amount of selected polygons. Depending on what you are after, you may also want to set "And Opposite" to also care for the backside. As said before, this is not a mathematically correct solution, but I think depending on the view parameters and an objects geometry, it may already be sufficient. And hopefully serves you as a starter for better solutions. Cheers Additional notes: Due to C4D's handling of Selection tags, Donovan's tag can be a bit finicky to use. Be a bit careful, save often and read the tag's docs carefully (are there any? I didn't check, but given the internal implications thee should be...). Hopefully, what MAXON just demonstrated with Neutron will enable us in future to achieve tings like this way easier.
  29. 2 points
    And if people keep doing that (sometimes more than once), and happily display both an unwillingness to put in the work themselves and an unwillingness to actually pay for professional help (not to mention a reputation and relationships of their own), the few who are willing to answer questions for free get less and less willing, until the forum is finally completely dead. People have no clue any more how forums are (ideally) working.
  30. 2 points
    There should be no circumstance where one face has normal map, and others don't. If an object needs a normal map, that whole object should get a normal map, and the same applies for every channel an object needs. The normal pipeline for this is simpler than you are making it sound. All material channels are discrete, so there is no circumstance where (for example) a Normal channel texture is sharing UV space with other channels. Once you have the UV mesh layer in a document, all your maps should line up with that, and if they do, all channels will still be in alignment when wrapped onto objects. Most people start with diffuse map, based on the UV mesh layer, and then all other layers are usually created from copies of that first texture by copying the layer and making adjustments to it for the purpose at hand. But you shouldn't ever need to change anything positionally having done that, so things stay in alignment over the whole model at every stage. Not sure if that answers your question or not, but we might as well have the correct basics written down somewhere so we can at least say we covered them... CBR
  31. 2 points
    I've spent these last few weeks learning about the Physics of fire and how to create certain flames. As well as Shading the Volume once it's complete. Here's a still of the first Explosia Render that I did, with the Density and Flames shaded correctly.
  32. 2 points
    Based on a ball lift idea I saw on YouTube
  33. 2 points
    As srek mentioned we will announce pricing for upgrades when we announce a new version. We haven't announced a new version so we can't announce the pricing for that not announced version. MSA program has been replaced with subscription including Cineversity. Cheers Dave
  34. 2 points
    There is a new update to the plugins. Please download again and replace your version to get the update. 25th July 2020 Hotfix Fixed: The sculpting based paint brush was not respecting the brush falloff. Feel free to add support questions or let me know of any issues you find here... https://www.c4dcafe.com/ipb/files/file/47-4d-paint/
  35. 2 points
    That's great and the selling point of C4D. I don't get the node fixation. Reason why I like Modo and C4D is that it's more artist friendly. But it's a cool project, reminds me of Softimage ICE. But with Blender growing a lot around here and Autodesk confirming the Indie license at $250 for next month, C4D will have a hard battle to fight for users around here.
  36. 2 points
    Not to belabor the point....but....err...as I look at it....Neutrino man and Srek look like they could even be related. Heck...they are even looking at each other. ....just saying. Dave
  37. 2 points
    The new core is not a singular thing. All the development that went into it was also the base for Neutron, the two go hand in hand.
  38. 2 points
    This was specifically so that my 4D Paint painting and texturing tools work correctly in S22. These have just been released for free for everyone from R20 to S22.118.
  39. 2 points
    I certainly expected that there would be a charge for this service. I would have been more surprised if it was free. I was just amazed that it was something you would offer as it would be something that you would put a lot of prep into (for some reason, I am guessing that you are a perfectionist who likes to do things right...and do it right the first time. That opinion probably comes from those perfect quad meshes you create). One thing I would like to strongly encourage you to consider: A tutorial on solving tough and/or common modeling problems in Cinema 4D. Essentially the techniques for making only quads in various modeling situations - especially those involving curved surfaces and/or intersecting curved surfaces . The course would NOT be for the beginner as it would require familiarity with C4D's modeling toolset and short cuts - but rather just the techniques that you have developed. Focusing on the techniques only as opposed to teaching basic tools would be enough work as I would imagine that coming up with appropriate examples and structuring the lesson to clearly explain the solution would be challenging. I would pay dearly for that type of training. Just a thought....and a hope. Dave
  40. 2 points
    Whooa....really? Uxos - IMHO, there is no one better at hard surface modeling than Cerbera. That is quite the offer!!! His community reputation score is purely based on his work and the problems he solves for others. Dave
  41. 2 points
    Hello and welcome to the cafe, hope you learn plenty and show us your work soon. Dan
  42. 2 points
    At some point all polygons are broken down to triangles, at the very leats the renderengine will need triangles. Some fileformats and applications don't even support anything but triangles. Cinema 4D supports Triangles, Quads and N-Gons, even with holes. On import into any other application the structure, and therefore the polycount, might have to be adjusted.
  43. 2 points
    Quads AND triangles are polygons. In your case the primitive cube consists of 6 quad polygons. When converted to another format, the quad polygons may get converted to triangles. Since 1 quad equals 2 triangles, your 6 quad polygons become 12 triangle polygons. Edit: If you would triangulate the cube in Cinema4D you would end up with 12 triangles to begin with.
  44. 2 points
    Open a single png in photoshop and see if it has transparency. If it does not, it will not work in AE.
  45. 2 points
    Hi Everyone! Here are the final renders of my first serious project in C4D. I initially started this as an exercise in modeling, somehow it came to this. I myself am aware of some of the shortcomings in this scene, but I'd like to hear some honest peer critique. More pics in higher resolution can be found here: https://www.behance.net/gallery/99589199/F1-Race-Concept-Car-Project
  46. 2 points
    Everyone seems to have missed the obvious question, whats in your background? eg. is there possibly a giant sphere wrapped around your project, blotting out the sky? If you upload the c4d project we can take a look
  47. 2 points
    Dynamic cars is my fav part of C4D.
  48. 2 points
    Hi, you can make a selection object for that: select all your controls relevant for your character in the object manager (and also add keyframe selections on all animated channels for each object), then go to select> selection filter> create selection object and all your controls will be summarized under this object that will pop up in your object manager. After that you can just double click on the icon of the selection object and it will automatically select all of your rig's controls so you can easily set a keyframe. I would recommend to do this while rigging for every rig, as it is something you will most likely need for every animation, for setting the first pose at least
  49. 2 points
    This tutorial shows how you can do a dome with hexagonal segments.:
  50. 2 points
    Gosh this looks like a nightmare If you want to save yourself some work, you might want to look into the QuadRemesher plugin, it is really great at keeping shapes and making low poly quads out of geometry - but for that you should have split parts (not one single giant mesh) in the best case, I don't know if this is true for your model, if not you could manually split parts with the "select connected" command (U-W) Also you might want to try out a workflow tip by Chris Schmidt for polygon reduction, it is on his first C4D tips talk, I think it's even the first thing he talks about (It's the one shown in the thumbnail) https://greyscalegorilla.com/tutorials/50-min-of-tips-tricks-in-cinema-4d/ It works especially well with technical parts
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