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Showing most liked content since 05/23/2018 in all areas

  1. 7 points
    Hey peeps! This is an environment I've made for a short film / pilot episode I'm working on. It was made entirely in Cinema 4D (using the Physical render engine, alongside some simple After Effects compositing and colour correction). Take a look here! This has taken me 17 months to make! Admittedly I was also doing freelance jobs in that time. The total render time clocked in at 360 hours (and no, that wasn't distributed on a farm, it LITERALLY was all rendered on my one PC !... That was a long wait lol) I've NEVER made a 3D scene so immense in my entire time as a 3D artist before :D. But if you're interested in what this is about. I'm working on a BIG passion project in the form of a pilot episode. Fully 3D animated in Cinema 4D. The dream is to make a sincere push towards getting this thing picked up for syndication on some sort of TV network once I've finished the pilot. All my social media deets are in the vid description if you're interested in more about that. Otherwise, let me know your thoughts!
  2. 6 points
    Small quick tip, but very amazing experience... Simply must love it :)
  3. 6 points
    OK, these are the first few stages... 1. Poly pen, outline window, side view... 2. Move this plane out from center, establish symmetry, and curve top edge loop in on X slightly. Continue making polygons (poly pen), redistributing them to keep them regular, and adjusting flow to match the lines of the craft... 3. Adjust those points in other views to match a mainly cylindrical profile. No reference, so you have to guess. Here I have just added a loop out front to try and define the end section. 4. Refine and smooth the points, again focusing on evenness of distribution and smooth curves on every line. Put Symmetry under SDS L2 and refine base mesh points. 5. Now we're just patching holes, and refining forms. The back end starts to take shape... 6. Quad patch the back end solving any tris as you go. 7. Now the front end - same principles apply - plan your topology, distribution and edge flow, and patch accordingly... 8. Further tweaking of points and refining the mesh, and we are now ready for Stage 2 - applying 1 level of subdivision, then re-hardening key edge loops, then splitting off the window section and doing panelling, which our edge flow will now effortlessly support. But now I'm off to do other stuff, so will pick this up if you need more help when you've got to this stage... If you are suitably eagle-eyed you will notice some ngons in that last one, which are a temporary anomaly and will be removed :) Hope that helps CBR
  4. 5 points
    While working on a plugin I got the idea of making this small utility: Wheel Of Tools. It allows the user to set up a list of most used tools, which are presented as a circular palette to select from. Available directly within the viewport. Current state of the plugin is only a concept, and I am mostly focusing on the actual tool selection. The part where user does set up the tools still needs to be worked out. For those familiar with PolyGnome, you probably already understand where I will be heading to ... Wheel Of Tools, once fully implemented, will be the base for a new way of interacting for the main part of the PolyGnome plugin.
  5. 5 points
    Hey cafe This is part of an ongoing client project, but I am lucky enough to get to do some very interesting modelling work for it, and this bit was no exception. Many thanks to @spiralstair for letting me post a render or 2 here... It's an aging Roland Monosynth from the 80's, and it has seen better days, but the lights are still on and that filter can still buzz like 1000 angry bees :) Physical Render / Adaptive / Auto, 5%, 3, 3, 3, 0, AO, no GI. 32 minutes. 100% quads. CBR
  6. 4 points
    Hi everyone, just wanted to let you know that after many months of planning and working, I finally got my tutorial site up and running, https://airbusch1.com and am very excited to share some things with the C4D Cafe community. I have posted several tutorials on things like building a simple piston rig without dynamic connectors. https://airbusch1.com/2017/12/12/simple-animated-piston-setup/ Or, animating octopus tentacles utilizing the powerful Motion System within Cinema, and several others tutorials as well! https://airbusch1.com/2018/01/10/animate-octopus-tentacles/ I also have some free rigs for download, like a Seismograph/Lie Detector device that is fully textured with controls and animatable, as well as my G.I. Rig, and others. https://airbusch1.com/2018/02/18/seismograph-rig-w-controls-tex/ Everything is free! So give it a look when you have a chance, and I hope you enjoy the tutorials and rigs! All the best! airbusch
  7. 4 points
    You have time to do 'other stuff' as well as all the help you give people here?! :-)
  8. 3 points
    If you are a modelling purist it is never acceptable, and technically all ngons in final models are modelling mistakes*. Of course clients couldn't care less on the whole, so if it's all about the time, and there are no artefacts in render it is difficult to object, though I still would :) What few people seem to realise is that if you train yourself with a solid grasp of poly modelling and practice for years, then you are often able to model stuff properly in the same time as it takes everyone else to bodge it together any old how. And then the argument for tolerating them rather falls apart... Models without ngons are always better than those that have them because the files are more flexible because they will subdivide predictably in every program the mesh could be loaded into, and you leave that to random chance if you allow the sub-d algorithm to solve them for you - they all do it differently. It's true, booleans don't always break the mesh, and sometimes they definitely are the quickest way of doing stuff. But if you can clear up after them, why wouldn't you ? If you did, you'd be able to use a booled mesh with subdivision and in a whole load of cases where the ngon version would fall apart. But if you don't need SDS or any of the other things that would affect it then there's the argument for leaving it just as it is... Of course ngons while you work are another thing altogether, and can be very helpful while you plan your topology - you just won't catch me leaving them there. I sell my services as a modeller - you can imagine how unprofessional of me it would be to be handing out meshes that contained mistakes, that's all I'll say ;) I am aware that people like me and @VECTOR are the exception rather than the rule, but that doesn't make us less correct ;) CBR *Ok, perhaps twice in a lifetime you might come across a modeller SO good and so uber-aware of how his software translates ngons into quads and tris that he is able to plan and use ngons to achieve specific surface qualities that would be impossible, or significantly detrimental to achieve any other way. In THAT case, ngons are fine :)
  9. 3 points
    Hey Cafe Having enjoyed modelling the last synth so much, I thought I'd do a bigger one for my own amusement. The Sh-09 was an analogue micro Monosynth released in 1980. By 10 years later the digital age had arrived, screaming synth leads got displaced by twinkly dreamy electric pianos, and everything went FM and later PWM synthesis. In 1990 Roland were answering the call for a return to the searing analogue leads and basslines, so released this, the JD-800, a veritable juggernaut of a synthstation, utilising hybrid synthesis so we had the best of both worlds - all the analogue goodness, but combined with digital clarity, and DSP. 24 note polyphony and 16 part multitimbrality made this a powerful pads machine with unprecedented levels of practical slider control over virtually every parameter. To put you in the mood, here's the top patches from that... Rendering-wise, there's been some challenges to this one - getting the anisotropy right took a while, and I had to make all the panel graphics, which took rather longer :) But whereas my little monosynth had been sitting in a studio gathering dust, or getting bashed about on the road, this one is new out of the box and on display in a synth museum... Physical, Adaptive, Automatic, 5%, 3, 3.5, 3, AO. No GI. 21 mins (wide shot), 32 mins (close shot). SDS throughout, 100% quads CBR
  10. 3 points
    No....not nerds. Given that that they are both 3D artists and musicians is pretty interesting. Both require a mathematics (music is very mathematical), a sense for order, etc. Those are left brain characteristics. To create what they do obviously comes from the right side of the brain. They are not nerds but whole brain thinkers. A real nerd reaction is the one I had: I looked at the mesh, saw the logic of it, and then honestly thought it reminded me of an empty Excel spreadsheet! Now that is nerdy. But I will agree it is another beautiful model. Dave
  11. 3 points
    Hey Everyone, In my quest for controversy ;) I wanted to do another piece in my "Alternate Universe" series with IG-88. All modeling done in C4D (besides the 2 pieces against the wall at the bottom...bash kit). Shaders in Substance Painter and final comp/post in Photoshop. Cheers, Andy
  12. 3 points
    just a quick one from a few weeks back.
  13. 3 points
    Check out this Lichen Katydid, which renders with its own isoparms ! :) CBR
  14. 3 points
    Well it was a good idea. Since it's redundant, so is this by the way, I thought up a name for the plugin. Point Less. I'm laughing at my own jokes now. I can feel you all grimacing.
  15. 3 points
    What a awesome community, very hart warming to see this, well done everyone. Dan
  16. 3 points
    Hi The character object is more than a way to just create joints, its a complete rig with all controllers, ik/fk blending, and its modular in design so you can mix different parts from different types of rigs. For instance the character tool has rigs for animals and insects to simple or advanced bipeds, even birds. You can also produce a character object from your own rigs so the character object has some very advanced rigs, and abilities that would take years of learning to attain the same quality manually rigging it. The project your thinking on doing needs to be refined as to what it is your aiming for because a suit of armour while ridgid will be driven from organic movment if its a human driving it, where as a robot will have mechanical joints in which is not organic. Organic has geometry bend, while mechanical does not so it needs the joint placement placed bang on at the pivot rotation point and 100% weighted to that part to rotate. If you plan or using a imported human as reference to then bind the joints to your model then your need to make it with your model to have the same articulation loops on your model the same location, this is not something id do myself as id me limiting my design choices based on pre made joints. By the time you go in and make adjustments to the joints your wish you had just rigged it from scratch.. The joints of mechanical parts needs to be placed perfectly, your have to adjust the whole rig to do this. I would advice to have your design down on paper before going ahead and modelling it as you go. Have your design down first, then your see its flaws,, strengths, and save your self a great deal of time. If you had Zbrish you could concept it out in a hour or 2, handy if your not so good at drawing. Get tons of references from online to help your design choices. If you have a back story for your character this will drive your design choices. You can ask your self so many questions that will direct your choices this includes the time period, the world in which he lives in, is he android, or fully robot, good, bad, motives, roles, personality trates, technology of the world in which he lives in. These then drive the type of materials his mechanical parts are made from, how they are powered, which in hand helps you choose the materials such as chrome, steel, titanium. You say you have done rigging, I assume you have also learnt how to add controllers, morphs, user data, basic driver expressions, IK/FK blending with basic expresso, or some of these things you hope to learn for this project if so maybe a good idea to try them out on smaller projects? Dan
  17. 2 points
    It's here, but no, didn't get asked as far as I remember. CBR
  18. 2 points
    Cineversity just released a new plugin called CV-AR (learn more about it here). What makes this pretty cool is that it exports the facial capture information from the iPhone X into C4D. You also need the app MAXON developed for the iPhone X as well. The way it does it is pretty slick as well as once you record your performance, you open the plugin and scan the 2D barcode the plugin creates with your phone and the data is downloaded. Honestly, when you consider how much money Hollywood VFX artists once spent on developing facial capture technology 10 years ago, to have it now on you phone with easy import into C4D is pretty amazing. As an aside, I do know that the Apple did partner with those very same VFX artists to get the facial capture software correct. Kudo's to the MAXON folks for seizing this opportunity. Is MAXON the first DCC company to take advantage of this capability in the iPhone X? Prior to this Cineversity plugin, the only use I saw for facial capture on the iPhone was to animate your Emoji. Honestly, talk about hokey and why would I pay a $1000 for that? MAXON just created a good use for what I once thought was just a pure gimmick. Now....while I am still not motivated to plunk down a $1000 for a phone, I hope that DCC professionals see this as a very cheap way to get facial capture technology into their toolset and it takes off for MAXON. And to get this capability for free is just another reason to love Cineversity. Dave
  19. 2 points
    My Samurai needs a sweeter ride than just a skateboard. Working on this Honda NR750...classic early 90's Superbike...pretty happy with this one so far. Curved body work was a good challenge but not too crazy. I had to subdivide a little more than I wanted to get the headlights in there but not nearly as much as I've had to with previous models. Still have a decent amount of details to put into this one...but that's the fun part!
  20. 2 points
    yeah, my guess would be that there is a slight morph involved to alter the shapes a little as they twist. i wouldn't know any solution though on how to do it without masking stuff in post. as for the slight bulging effect on the seams that could also be done in post. the texturing part puzzles me a bit, looks pretty accurate. those things are very hard to figure out without actually trying it.
  21. 2 points
    There you go. Come on Bob, you know this :) Problem here was that you did inner extrudes to get the border, rather than the box corners you need to keep things sharp under SDS. Here's what it needs to look like for this result... note the center edges I added too, close at the pointy and, and fanned out to match the curve at the other... but you could also done that point without adding these edge loops by just sliding the points either side of it in toward the point. Here's the scene... AT-PT_mesh cbr.c4d CBR
  22. 2 points
    If you couldn't use instance object for whatever reason (for example circles are different size) : Create Master Circle and by XPresso pass only those parameters that you want. Use LinkList node and drop your objects there. Iteration node to go through all elements and set proper amount of iterations Adding HUD elements as mentioned above.
  23. 2 points
    The best and simplest way would be SDS poly modelling, starting with a cube to which you add enough vertical segments that you can move them into the curve. But also possible with splines in a sweep. Ideally you need a left view so you can see what the curve is, but totally possible to wing it by eye... This is incredibly simple stuff - suggest you watch any of the basic modelling tutorials... CBR
  24. 2 points
    Kiwi is right. You need to establish your curvature in topology. 8 segments is nothing like enough for this. I'd start with 64 myself, like this... When the topology is this dense there is no need for any transverse control loops to tighten the protruding section because we have given SDS 8 times less work to do and established our curvature immutably in base geometry. Also you should avoid any triangles in any mesh that is used with Subdivision surfaces. Note my quad patch in the middle, which solves the problem of triangles and complex poles at the centre... CBR
  25. 2 points
    Another tip would be to make sure your UVs are laid out well. Right now it looks like you have seams between the front of the toast and the crust, and the crust texture looks stretched. You may want the crust UVs to actually extend out from the front face of the toast. Then for the back you can use the painting tools to clone away that seam. From there you can use your toast images and if you need more dark edges, you could use the Burn tool in Photoshop.
  26. 2 points
    Yep, came here to say exactly that ! ;) Grab a camera, and go make toast ! CBR
  27. 2 points
    I had to to do this for TV project and just made toast, scanned it and use the image as texture with some bump. It worked out fine for what i needed it for.
  28. 2 points
    Thank you, used that method, and little bit of modeling and sculpting to get this deformation effect.
  29. 2 points
    Haven't done anything in a while, I need a better rig to do some larger things...I managed to put together this samurai and I was pretty happy I was able to get him rigged pretty effectively which is something I'd struggled with in the past...
  30. 2 points
    Wooh i made a character animation reel! it's not quite pixar yet, but small steps :)) Gonna get there :))
  31. 2 points
    Decided to do some 6k clay renders for my website, which i should really get around to sorting out! anyway you'll need to click a few times to zoom in but you get a nice close up of all the details
  32. 2 points
    GI is absolutely needless when rendering glass as liquids/glass deal only with reflections and transparency, color channel should be unchecked. You may enable GI for the sake of background and the bottle cap if you insist. Same with AO - evaluate transparency must be enabled, otherwise you get nasty looking dark areas inside the bottle. You should be fine with prime, just find a good hdr image, like one of these: www.hdrlabs.com/sibl/archive.html
  33. 2 points
    Hi sombear, Any place is a good place to ask questions. :-) I almost missed your post, sorry about that. That window is part of a series of similar windows that belong to the same building complex. They are all fairly similar as far as the techniques are concerned that I used to model them. I actually recorded a 40-minute tutorial on modeling a window that is part of that same building complex and very similar to the one from my previous post. You can watch it on Vimeo. There also is a time lapse version of the tutorial. It's called "Hard Surface Excercise 01: Victorian Window": Like I said, using the same approach as shown in the video, I did a small series of those windows, see the attached examples. Hope this helps. If you have any further questions, feel free to ask! Cheers, contrafibbularities
  34. 2 points
    I am working on a new plugin, and would like to query for user interest. Background info: I am not an expert at modeling, but from time to time I create some objects for short stories I am making, or other projects I am working on. For the past 2 years or so, I have spent most of my time writing some plugins. As such I didn't quite follow the progress of modeling tools (or lack thereof) in the recent Cinema 4D releases. Recently I was creating a mesh, representing a faceted low-poly gnome to be used as illustration for one of my plugins, when I noticed that removing polygons still left orphaned points behind. Same behaviour as always, from the early days I worked with Cinema, till the last time I modeled something before focusing on plugin writing, and then even today. So, over the span of 10 Cinema 4D releases (R9 - R19), nothing seems to have changed regarding this behaviour. Now, I can understand some of the reasoning behind the current behaviour. Still, I wonder how many requests I have submitted to MAXON over the years, to provide an option to allow the user to decide if orphan points should, or should not be removed automatically when deleting polygons. I don't know what R20 will bring, but I didn't want to wait any longer for MAXON to provide said option, and decided to write my own plugin to perform the task of removing these orphan points ... while providing an option to do so or keep the current behaviour (avoiding the need of removing the plugin when user wants to switch between these different behaviours). The plugin: It's a free R17-R19 plugin, currently Windows only, but will be made available for MacOS when time permits. It might also become available for R16, but nothing promised at this time. The plugin is document based, and simply runs in the background. No user interaction is required, as removal of orphan points is done automatically, whatever mode the user is working in. Simply enable the plugin (scene configuration) ... and model away. Naming request: Since the project is still ongoing, I haven't decided for a final name yet. The project is currently named AROP, short for Auto Remove Orphan Points. But could as well end up being named URP (Unused Point Remover), or anything closely related. If anyone comes up with a fancy name, just let me know. Beta testing request: As with all my plugins, it is closely based on the workflow I am familiar with. While good enough for me, this might not be the case of more expert users, or even beginners for that matter. As such, I'd like to ask for a few people's time to spend testing this plugin, before being officially released. Contact me for details. Most important feedback I am looking forward to: - is the plugin slowing down the performance of Cinema 4D - any lag related to the use of the plugin on small or large objects - are there any orphan points still left untouched by the plugin - what's the total user experience using this plugin Thanks for reading Daniel
  35. 2 points
    Thanks a million for the help. The texwood is on the roller coaster itself. The scene works now and work can continue. Much obliged.
  36. 2 points
    Definitely don't use a boole, which will instantly break any careful modelling we have done so far and ruin the SDS smoothing !! ;) Instead do this... 8. Set the SDS down to 1/1 in the settings, then hit C to make it editable. That should look something like this (although I changed my mind about where the top roof bit terminated on the screen, so remodelled mine slightly)... 9. Now, by making poly selections and using Inner Extrude you can adjust the edge flow around the windows and bodywork like so... (Note I wasn't happy with my topology above, so retopo'd the windscreen under the front roof bit for much better edge flow before I did this). 10. Now we can start the panel lines. Select the edges you want to be panels. I chose these ones... 11. Once you have this selection, using ONLY the slide tool, and using the reference as a guide, slide the points on those edges so that you get straight lines where you need them. Then you are ready to first bevel, then extrude back the center polygon loop, with these settings (distances will be different in yours no doubt) 12. Now put this mesh in another SDS, Level 2 or (preferably) 3. Because of our increased topology resulting from the first SDS we applied our panel lines don't get too much distortion, which we would have done had we added these panels without applying that subdivision. If you need selected corners even tighter, we have enough polygon density to be able to use the 'shared points' method where we slide neighbouring points in towards corners. CBR
  37. 2 points
    Hey Cafe Last night @VECTOR told me what he had been up to these last few weeks, and that him and @everfresh been secretly organizing a donation fund for me and my mum while we're getting through some difficult bits. What can I say - I am absolutely blown away by the kindness and support of people here in this amazing community. There are simply no words that could convey how grateful we are to everyone that helped or left a message. Thank you so much. We will be making a donation to the Phyllis Tuckwell Hospice Foundation who are desperately starved of resources but still do incredible work and make a massive difference to the lives of people dealing with terminal illness and their families. Love and light, J
  38. 2 points
    this is what is so great about our little community, we are all in it together and help each other.
  39. 2 points
    I somehow missed this topic, but yea, well done community. Also thanks Jay, he actually shared with me some of his money to help me, so I am also grateful, thank you. :) Lets keep this community like this in the future...
  40. 2 points
    Copy following code into the Script Manager window and save it as i.e "Delete+Cleanup" Then with "Customize Commands", filter on the entered file name, and assign it "Shift+Delete" as shortcut keys ... and Bob's your uncle. Makes this whole AROP plugin I made completely obsolete ;-) Just why I didn't think of that before starting this whole plugin. import c4d def main(): # perform the delete (ID=12109) c4d.CallCommand(12109) # perform the clean up # get the currently active polygon objects objects = list() activeObjects = doc.GetActiveObjects(c4d.GETACTIVEOBJECTFLAGS_CHILDREN) for obj in activeObjects: if obj.IsInstanceOf(c4d.Opolygon): objects.append(obj) # remove unused points settings = c4d.BaseContainer() settings[c4d.MDATA_OPTIMIZE_UNUSEDPOINTS] = True res = c4d.utils.SendModelingCommand(command = c4d.MCOMMAND_OPTIMIZE, list = objects, mode = c4d.MODELINGCOMMANDMODE_ALL, bc = settings, doc = doc) c4d.EventAdd() if __name__=='__main__': main() Edit: Had some typos in the code, fixed now.
  41. 2 points
    Hi Guys This problem had my brain ticking over thinking of tracers following a target on circle getting faster and slower etc but actually you can do a bit with effectors, but its a bit tricky getting the falloff correct. If you set the effectors deformation tab to point mode and just move the spiral points in one direction, then you can use the falloff to control the movements. I don't think I've quite mastered getting that ease in ease out kind of falloff here. Can also get a but lumpy in the transitions. Only seems to work with linear falloff. so you can move or animate the effectors to change position. Far from precise control tho. a plain and shader option here but can't seem to fine tune the grad on shader. Bit of experimentation required. Maybe a mirrored plain effector back to back with the other one with opposing fall offs may give that smooth in and out feel. Possible addition to the formula option Deck Helix effectors.c4d
  42. 2 points
    One thing I have been doing is making a polygon selection tag for each piece of clothing, like the pants, shirt, tie as well as hands, head, feet. that way I can hide everything else while weighting and be more precise and see problems easier. Especially since I often add bones to a tie.
  43. 2 points
    Technically you could do either, but I vote 'All one mesh except the glasses, although if they stay put for the entire animation then even those could be included. Typically I find it is quicker to work with a single character object than it is to work with lots of disparate parts all weighted to the same joints. CBR
  44. 2 points
    Hello people, share with you a personal project that was producing and also using 4D cinema https://www.artstation.com/artwork/WOV2D
  45. 2 points
    Hi, here is one i made earlier using some of the methods mentioned above and lens effects.
  46. 2 points
    Here is a small update on my progress i'll have more time at the weekend to get the modelling finished.
  47. 2 points
    This does look much better ::)
  48. 2 points
    It's a combination of sss/refraction and more work on specularity. I would reduce the diffuse transparency to 90% and then below it add a refraction layer. Put the diffuse bitmap into the refraction colour and then start experimenting - copy the ior of specularity . Organic materials sometimes work better with sss, so enable this section below volume fog. re: specularity, @Cerbera is spot on, you need at least one more layer with a lower ior, possibly with a map in the reflection glossiness slot - to give some variation.
  49. 2 points
    Or just buy the upgrade from 2.4 to 3.0 for only $ 40 at cgtools.com Totaly worth it. Philip
  50. 2 points

    Version 1.0.0


    Here's a simple script that takes a selection of points and arranges them into a circle. Also works in edge and polygon mode. Make sure you only select the outer elements i.e. select a ring of points. if you don't do this, the plugin won't work. Copy the script into your scripts folder which you access via the Script menu on the toolbar. Restart C4D and you'll find the script in the Script menu. Do your selection then run the script. Resize the circle of points, edges or polygons using the scale tool. You can change the default size of the circle by editing the script.