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  1. 6 points
    just finished this :) @Cerbera sorry for the caps in the topic title, but the title of the video just required it ;)
  2. 6 points
    Folks that are speculating here and via pm, here is a simple answer. Adobe is not buying Maxon - simple as that. Not sure how on earth can anyone conclude that given this development? This, if anything nullifies such assumptions... If Adobe ever wanted this then probably good time for them was 10 years ago, certainly not now, and to best of my knowledge, and I was saying this every year when this comes up - C4D is not for sale. It is simply silly for Nemetschek to sell such a valuable and growing company. Anyone can find financial results of companies online, this is simply publicly available information. Now, I am looking forward to open some accounts for Redshift folks ;)
  3. 5 points
    Fancied a quick little personal weekend modelling project, so thought I'd do the Golden Snitch from Harry Potter. Painfully easy to do with either Volume builder or Sculpting, I fancied more of a challenge so I did it properly, with SDS. Here we are at the end of Day 1, most of the modelling done, but no textures yet... 100% quads, but still the odd 6 point pole remaining, not that it creates any artefacts here :) Of course it's different in every film, and you can tell they didn't know it was going to have to open until film 6, but I'm doing the film 3 version, arguably the best of the series because Alfonso Cuaron was in charge... Texturing tomorrow... CBR
  4. 5 points
    Can finally show some work I did for the Walking Dead Season 9 last year. This was a pretty dreamy project. The props department needed a sword designed for the Jesus Monroe character. They gave me basic dimensions that they had tested out with the actor and some research from the comic and previous action figures and then I was let loose from there. I designed three different options - this is the one they ultimately went with. Stitching, seams, etc in the renders could be better overall, but the whole thing went together in just two days.
  5. 5 points
    Created for fun.. Software used: Zbrush, Rizom UV, Substance Painter, Cinema 4D and Redshift
  6. 4 points
    Dave is very cool and grounded guy, he never talked with any of us at Maxon with a bossy attitude. We truly believe he is capable to lead is in a better future.
  7. 4 points
    10 min keynote from the new MAXON ceo! Just announce the big news and wrap it up. I like his style! Tim Cook can learn something from this.
  8. 4 points
    Don’t we all love the guy who pops out of nowhere to ask a question and then doesn’t even take the time or courtesy to reply back after he’s received a thoughtful answer. I say some sort of acknowledgment or maybe even a ‘thank you’ is required operating procedure for anyone seeking help. People providing help are getting nothing out of it 98% of the time. At least honor a fellow human’s generosity for helping you. I think we sometimes are morally obliged to *not* help certain people. We owe it to ourselves to not be abused by the laziness, greed and opportunism of others.
  9. 3 points
    After the gold and fluttery-ness of my Golden Snitch, it seemed only logical to do a Quaffle next - I seem to be doing the set. In fact these Quidditch guys are great for an ongoing personal project in that if you don't have much time you can always just spend a free night doing 1 type of ball, and then come back to it later to add to the set... Still working on textures, but off to a fairly decent start... this one was Physical Render /GI - 3 mins. CBR
  10. 3 points
    Keyframe the dynamics on ? 3spheres.c4d
  11. 3 points
    You can always just setup such a scene yourself and then reuse it with different materials. It's really not a big deal and decent HDRI's are not really that expensive anymore. Here's some directions: HDRI Haven (Free) textures.com HDRI's
  12. 3 points
    Some workflow info: I really like the Volume builder and mesher for creating these smooth surface body parts. - Some retopo in 3D Coat - Marvelous designer for the neck part - Modeled and rendered in C4D off course - Redshift for rendering Still a lot to add
  13. 3 points
    Some music to help you pass time while rendering: Appropriately named too! May I also suggest this site: www.extrememusic.com Great site for production music where music is classified by mood, tempo, and style. In the mood for something to zone out to? Just type in "chill" to the search bar and up will come hundreds of tracks that will all stream to you one after the other WITHOUT ADS!!! Dave
  14. 3 points
    As a bit of a drone pilot myself, for a long time I have wondered when 3D mapping would get here. And indeed it just has ! DJI have just released Terra, which will turn your UAV footage into 3D digital assets complete with textures ! As a company I don't like DJI, and don't fly their machines myself (2 non-pilot-error flyaways mean I can't trust them), but they remain the people with the most budget to throw at ideas like this, and are surely the frontrunners of making it a consumer-level thing. Read more below... https://www.dji.com/uk/dji-terra CBR
  15. 3 points
    Oh you've come to the right place ! :) I modelled a diorama of Gandalf's Cutting a few years back... To get the frame of the circular door you just need to do some basic modelling. Get a disc object the same size as whatever you used to make your circular door, but make it slightly bigger, and then give it an inner radius of slightly smaller than the outer edge of the door frame. Then you can just select rows of edges and extrude them out in square form, like this... 1. Start with a disc. 16 segments is probably enough. 2. Edge Mode, Select the uppermost 4 edges, hold ctrl, and drag them out, then hold shift and scale them flat on Y. 3. Do the same for the sides, but this time scaling on X... 4. Close the gaps by extruding the edges next to them, using vertex snap to get them precisely aligned. Then weld the coincident points. 5. Add more extrusions to boundaries by ctrl-dragging with the move tool until you have the sort of dimensions you need, then, select all polys, get the Extrude tool, tick Create Caps and then add thickness to the wall by dragging right in the viewport... CBR
  16. 3 points
    KVB is correct in the setup. However, you have turned off 'Seen by Reflection' on the Floor.1 object in your image. It is the Floor.1 that is making the shadows on the rocket lighter because it is bouncing the sky light back up at the rocket.
  17. 2 points
    Let's have a look at the Mac facts here: 1. Pro res seems like an also-ran. At present. 2. Lack of Nvidia suport with no hope of it in the future. 3. Lack of AMD support for the industry standard GPU renderers 3. Apple dropping support for Open CL and GL 4. Integration just seems non existent with Apple's proprietary Metal, and where it does exist ( like in Premiere ) it seems to make the programs run slower. 5. Apples walled garden just seems to get higher and higher. 6. Where the hell is this Mac Pro Modular, they've been talking about it for years now? All of this and more just means we're at a point ( as OSX users ) where it won't matter if you spend £15K on a full spec bells and whistles OSX machine, it just won't run the renderers needed for C4D work. Apple Pro machines are no longer pro, they're just expensive toys. Enough already. And I say this as a nearly 3 decades Mac user sitting here with a 6 core I7 2018 MBP with a Razer Core X Vega 64 that is basically a dog when it comes to running C4D. It's time to switch to be honest. My next Mac will be a PC.
  18. 2 points
    @Tesa Demiur if the camera's going round more than once, here's a little seamless looping dodge I use a lot modulo means count up to (but not including) and start over. Dividing this by the constant gives 0-100% repeating (actually 0 >> 1 in XP).
  19. 2 points
    Hi. You need to use motion clips which is C4D Non-Linear Animation system and is designed for doing just what your asking. In order to get one clip to start from the location of the last, you need to use Pivot objects. These objects give the object a unique animatable pivot so you can move the entire animation to start at a different position. To see this workflow I suggest you watch my in-depth video on this subject, your then be making your own short animations in no time. Chapters can be seen on the youtube channel. at 0:44:05 it shows pivot objects in use. Dan
  20. 2 points
    Triplanar is a neat solution if you have the setup already done. If not, or you can't be bothered to make it, then you can make a load of polygon selections, and apply the same material several times to different areas with different mappings. For example your objects above could use cylindrical, cubic and flat projections on certain parts of the model, and that's quicker to setup than either TPM or UVs... CBR
  21. 2 points
    New update new issues. Unfortunately that's the case with the software we use. Some things are simply not in our power.
  22. 2 points
    hey café, just posting my happiness about this nice little controllers from stream deck, which can store keycommands and have this beautiful little screens behind each button. second one arrived today ...#ilovegear cheers .. marian
  23. 2 points
    if you are worried about render times i would stop using macs..
  24. 2 points
    You can't use that Grid Array mode and still get it to do what you want with the spline effector. You do have to abandon that, or at least produce a grid another way. For example what I showed you first was based on 3 grouped objects. But what if you replaced those with another cloner, in linear mode that just makes 3 copies of a single cube ? Then surely you have the best of both worlds - it's all parametric, and you can change numbers in either cloner ? CBR
  25. 2 points
    Transforming parent will always transform it's child unless you use move parent modifier. Hold "7" on your keyboard and this will not transform child objects.
  26. 2 points
    I'm trying to improve the accuracy and quality of my topology and model more components from the same polygon. So far it started with a disc.
  27. 2 points
    Yeah either you need $2,500 worth of Nvidia cards, or if you only have a fast CPU, there's Arnold and Corona. I personally use Corona and, even though I haven't upgraded to a modern CPU yet, it's remarkably fast. I'm running the old Mac Trashcan™, but it's still quick. I'm hoping to get that new elusive new Mac Pro they keep talking about, but even on an iMac Pro or a Windows machine with a Threadripper, Corona is as fast as any GPU engine. Plus, it's a fully raytraced engine so there are no compromises with certain effects. I also had Cycles and it was very slow on my hardware. If you only do 3D rendering and other video CUDA stuff, then a GPU solution may be worth it. If you do lots of other stuff on your PC that doesn't use two monster GPUs, then a AMD Threadripper setup will give you super fast CPU rendering with engines that support it, AND speed up everything else you do with that PC. Your choise.
  28. 2 points
    Very cool indeed. Funny since the industry we're in is so good now, at first I was asking myself if that was animated. Ha. I will always have a soft spot for Animusic though:
  29. 2 points
    Oh that's depressing. Please say it ain't so. I really don't want to pay monthly for using C4D nor do I want to pay an inflated monthly fee for access to an Adobe suite of products if all I want to do is use C4D. As a hobbyist, I only have enough time to learn (and therefore use) C4D....all the other stuff would be wasted on me. What a buzz kill to my Redshift excitement. Dave
  30. 2 points
    I have an idea how you could improve it. Try running the hi-res original through a little application you can find called Instant meshes. This will retopologize it as quads, and allow you set a detail level and do poly reduction without compromising that. Very useful little tool that one... https://github.com/wjakob/instant-meshes You need the pre-compiled binary for your OS, so scroll down the page until you see those... Also don't skip the manual / overview ! It's a 2-click procedure, but you need to know what those 2 clicks are ;) CBR
  31. 2 points
    The spline should be uniform. I made this chain rig recently. chain.c4d
  32. 2 points
    A lot of new guys fall into this early trap. There is nothing in your scene to reflect in the textures, which would certainly explain why they look so dull, especially if those textures are entirely based on reflectance ! Add a Sky Object to the scene, search the content browser for HDRI, and apply a suitable HDRI material to the sky object. You may have to add a compositing tag with seen by camera unticked if you don't want it to show in the background, but now your materials will look somewhat as their authors intended ! Glow in Cinema is a Post Effect, so won't usually be added until the end of the render. CBR
  33. 2 points
    I only recently discovered the lock tangent rotation, length etc in cinema, which made all the difference. Ya can't beat those little corner modifiers in illustrator tho, or that recent addition where you draw over shapes to merge them or cut them away from each other. Deck
  34. 2 points
    Aha set to Best and that fixed it. Now the fish can swim in a fly-free bowl. Thank you so much @natevplas @Vizn
  35. 2 points
    Any Maiden fans out there? I 've been meaning to do a proper tribute to Maiden's brilliant illustrator Derek Riggs for some time and finally started getting to it. The idea is to reproduce 5 of his iconic scenes in 3D and then do a mini clip (as everything is being set up for animation with real time rendering in mind) So here's the first still so far...(concept art originally on Maiden's album "Seventh Son of a Seventh Son")
  36. 2 points
    This ok if you don't look for the join. I spline wrapped a helix on a circle, made it an object and measured the length in xpresso. I made 3 cyls of that length using radial cloner, twist and spline wrap on the helix object. I tweaked the values a bit to make the ends meet. toroid 1.c4d
  37. 2 points
    Like this? Spline Wrap.c4d.zip
  38. 2 points
    New batch of setups :P 94_Raffale(MG+CA).c4d 93_EKG_rig(MG+XP).c4d 95_Concertina_rig(MG+XP).c4d
  39. 2 points
    If you want a round shape like this to have no seem at all you could so something of a mirror when making the UVs like I did on the following file. If starting with a tiling texture to begin with a single cut could be done on the UV of the cylinder and then have the UV go from one end of the texture all the way to the other. Since the texture tiles there would be no seem in the UV. There are two seems shown in the picture. The mirroring hides it pretty well. seams fixed.zip
  40. 2 points
    MAXON has three conference pass tickets for FMX 2019 up for grabs. This exciting prize gives you access to all four days of FMX 2019, from April 30 to May 03. These passes normally cost 400 Euros each! Enter to win: http://maxon3d.com/win-fmx-pass/en/
  41. 2 points
    Here's one which should work for you. Just use scale instead of position. And here is the file from that brilliant tutorial. Just hook both up to Shostakovich String Quartets.....or Cake. TP Follow.c4d.zip Sound Waves 1.c4d.zip
  42. 2 points
    walk cart.mp4 There goes Annie
  43. 2 points
    If I may add I noticed that your Uving was set to automatic which led to multiple seams. Your cylinder part for example needs only one seam to unwrap. So one seam is obviously easier to hide. Also don't forget if you apply a non hand painted texture you're better off with a seamless/tileable texture. I attach your file with improved UVs and a procedural tileable texture. Seams.rar
  44. 2 points
    You want an HDRI that is pretty much black and white - I'd use Uffuzi from the content browser, in a filter to make it greyscale ( -100% saturation). But that might not be the only issue. It looks like you have the default light turned on. If there is no lighting in the scene that will be there until you turn it off in render options, or until you turn on GI, which replaces it. CBR
  45. 2 points
    I'd guess not if I had to, and we must remember that Object Tracking was brand new in R18, so you may have one of the earliest versions of it, which is not as capable as more recent iterations. I think best bet is just to try it and see... Captain Natester has found you the best tutorial for that sort of thing, so just get in there and see what works... CBR
  46. 2 points
    couldn't resist, these things are just too much fun ;) play with the noises in the displacer deformers to your liking, if you need more details up the subdivisions for the spline and the extrudes cap grid. rock_grass_island.c4d
  47. 2 points
    @Cerbera I love it that people like us can spout all that off, probably without even opening Cinema! I think you're right on! Definitely need to use an HDRI to get those nice reflections. I'll add that you'll need some sort of grunge texture applied to the reflection roughness. There's also a subtle chromatic aberration going on with the refraction, but I don't think this is possible with any of the built-in renderers. I'm a RedShift guy myself, so I could be wrong since I barely ever use the standard materials/renderers anymore. You could fake it by rendering passes and comping in AE, adding a chromatic aberration effect on the refraction channel.
  48. 2 points
    Your material settings very important too. You need a colour channel set to 1% black, transparency set to 99%, and with a refraction index suitable for the type of crystal this is (probably 1.5-1.8 sort of range), with Exit Reflections turned off, then a Beckman Reflectance channel with a Dieletric Fresnel, a reflection level of 50% and no specular at all. You can also use the Thin film shader to get that oily sheen, which goes in the color map slot of a secondary reflectance layer, in Additive mode over the first. CBR
  49. 2 points
    And wires for @Cerbera
  50. 2 points
    Try duplicating your floor. Add a comp tag to that and uncheck seen by camera. Then add a comp tag to your original floor (that has the shadow catcher on it) and uncheck seen by reflection. Now your rocket will reflect a gray floor (like your original setup), but not render it. The comp tag on the shadow catcher floor is needed because it doesn't knock out the non-shadow areas like the old shadow catcher plugin used too (oh how I miss that plugin... not a fan of the new shadow catcher), it just turns it all black and sends the shadow data to the alpha buffer. Hope that helps!

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