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Showing content with the highest reputation since 03/19/2019 in all areas

  1. 3 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 :) 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
  2. 3 points
    I think this does it def main(): top = doc.SearchObject('boxes') boxes = top.GetChildren() count = len(boxes) boxes[0][c4d.ID_BASEOBJECT_GLOBAL_POSITION,c4d.VECTOR_X] = 0 for a in range(1, count): prev_pos = boxes[a-1][c4d.ID_BASEOBJECT_GLOBAL_POSITION,c4d.VECTOR_X] prev_rad = boxes[a-1].GetRad().x curr_rad = boxes[a].GetRad().x boxes[a][c4d.ID_BASEOBJECT_GLOBAL_POSITION,c4d.VECTOR_X] = prev_pos + prev_rad + 1 + curr_rad the boxes are under a parent called boxes, and in the for loop current position = previous position + prev radius + 1 + current radius result along X in this file, copy some boxes into the parent 'boxes' in OM box_arrange.c4d edit - same in XPresso. Select one obj and change width with scale tool to test. box_arrange_xp2.c4d AFAIK bounding box in XP doesn't use primitives only poly, but the GetRad() python method can do both.
  3. 3 points
    Hey all, I finished this model and here it is. Pretty fun but lots of challenges!
  4. 2 points
    For those of you who haven't yet heard, and miss the old Ask GSG sessions, they are back, tomorrow, under Chris Schmidt's latest Project, Rocket Lasso. Bring your questions, and show him we appreciate his efforts by turning up to the first one. Kicking off 2 pm CST / 7 pm GMT this Wed on Twitch. CBR
  5. 2 points
    I wanted this for myself recently and found a script. import c4d, os from c4d import gui, documents #Welcome to the world of Python def main(): c4d.documents.LoadFile(c4d.storage.GeGetC4DPath(c4d.C4D_PATH_LIBRARY_USER)+os.sep+"layout"+os.sep+"masrs1.l4d") if __name__=='__main__': main() Just replace masrs1.l4d with your layout name. Mike
  6. 2 points
    @pilF cart explanation - it's all down to radians ...
  7. 2 points
    Moving along. I think I'll do one more pass at the textures and grooming. I ended up doing the normal map and paint in Mudbox. I'm not sure if I'm a fan of that program yet but I thought I'd try it out.
  8. 1 point
    I have recently been receiving a lot of messages asking for help. And generally i’m a helpful guy, i answer questions, make tutorials etc. But more and more i’m getting the following messages, and they are all the same. First the person asks me how i am and then asks me to explain something that could be googled. So i decided i need to write a little tutorial on how to ask people for help. So first Example of how not to ask for help: The next one is slightly better, because at least he tells me what he wants and doesn’t waste my time with small talk. But they are both bad, and i don’t really want to answer them. The thing is there are people who message me randomly out of the blue and i answer and help them, and have been over the course of many years. Some even pay me when they can, have a lot of good long term relation ships springing from just people asking me questions. But these people seem to be just lazy and just want me to do their work for them. So… How should you ask a question that i would want to answer? Google your question. Try using what you found to make something Ask the question on a forum like c4dcafe.com Or a cinema4d facebook group, or twitter or cinema 4d slack/discord channel. Try make something Now if you still haven’t figured something out, you can show me what you made with a screen shot( and maybe a link to your file hosted of wetransfer.com) and ask me what you can’t figure out. And i will most likely make a tutorial about it. ... read rest of article on my site: https://ace5studios.com/ask-help/
  9. 1 point
    Bit more done, still a lot of tweaking to do before I start the interior.
  10. 1 point
    Thanks. I really appreciate your help. This is a seriously fun project.
  11. 1 point
    Good to see it's solved Good luck on the rest of your project!
  12. 1 point
    Great work Bezo! Thank you I t really frustrates me that to change yours to longer or whatever, I seriously need to guess at how much to change things without understanding why. It seems like I ought to be able to put the Cloner in Object Mode with the Helix and have a spline at each vertex but in reality the splines are way off from there and I have no idea why. The same is true with the Spline Effector which also should have been straightforward and simple.
  13. 1 point
    or maybe like this... https://www.dropbox.com/s/eq0w9cvn5pa7qja/Spline Wrap_0001.zip?dl=0 offset between cloned splines directly in P.X of cloner parameter, rotation of splines in Banking parameter of spline wrap rotation tab...
  14. 1 point
    This looks really great . Too bad the pricing has switched to maintenance agreement model. So tired of subscription type releases.
  15. 1 point
    Hi, if you watch this tutorial you might get some ideas. :https://www.youtube.com/watch?v=k1SrjqA1pyQ
  16. 1 point
    I'd done this in a previous project, but using this scene as an example - for the x position code, I just dragged the field in attrib manager into the python window - see last line here (might need some editing for name) then I experimented changing the syntax to global and it went orange (= code ok), and I tested the value against what was happening in the viewport. It all seemed to tally, so I used the code. For local co-ords, I could have used obj.SetRelPos(c4d.Vector(x, 0, 0)) , but since I was only interested in x co-ord I used the syntax above. You can also drag an obj field into console to get syntax, and if you hit enter you get the value I agree with your findings that SDK search doesn't find code you know is OK. My method - guess, tinker, make it up as you go along...
  17. 1 point
  18. 1 point
    Thank you! I was hoping for a logical solution. That was driving me crazy. In the interim I used Spline Effector which worked perfectly but Spline Wrap has way more options. Now I can animate it wrapping around using Spline Wrap. The collective wisdom of this Cafe saved me again!
  19. 1 point
    Are all the axes turned on ? When I opened the file it looked like this apologies if I'm insulting your intelligence
  20. 1 point
    Ohhh, It works well after following your way. Thank you so much for your help!
  21. 1 point
    Custom H125 Airbus visualization for client. C4D, Redshift, AE.
  22. 1 point
    I don't know why it does that yet, but you can fix it in this case by turning the SDS editor level down to 1. Then you can put that first SDS inside a second one (with settings 1,1) to restore the original subdivision level. CBR
  23. 1 point
    What do people think about lighting a scene that I provide, and the wining entry wins a $25 Amazon gift card? It would be judged on how interesting/beautiful the lighting design is and how photo-realistic the scene looks. I would have five judges (3 experienced 3D artists and 2 experienced photographers) evaluate the work. Comments from the judges on the winner, runner up, and a random other entry would be published along with thumbnails of all the entries (names not published for the non-winners). The reason I would like to this, is that I am doing some teach outs and it would be cool for the students to have to try to match different lighting set-ups. Let me know if this sounds fun for anyone? Thank you!
  24. 1 point
    I think I've fixed it def main(): global Output1, Output2, Output3, Output4 if pos == 4: Output1 = 0 Output2 = 0.5 + twist Output3 = 1 Output4 = 0.5 if pos == 5: Output1 = 0 Output2 = 0.5 Output3 = 1 Output4 = 0.5 + twist import c4d from c4d import utils #Welcome to the world of Python def main(): global Output1 if not SplineObj: return blah = utils.SplineLengthData() # blah = dummy var blah.Init(SplineObj) # name of spline Output1 = blah.GetLength() arrowTool_0001.c4d I'm not too sure about this line ' sld->Free(); ' let me know if it works ok edit - according to lesterbanks, the line I was unsure about would be blah.Free() # free up memory used by new spline class instance might be required...
  25. 1 point
    I think its planesmart or image smart plugin that does something similar with folders of images, maybe you could use that and extrude the result. Dont know any expresso myself. Deck
  26. 1 point
    That "small" timeline under viewport is called powerslider and it doesn't offer what you are after. Keys for Xpresso params are shown only in actual timeline...
  27. 1 point
    @pilF I had another look at the shopping cart to see if I could make it work in 3D, not just on one axis. Still WIP - see video I used the famous base80 wheel 3Dcart.c4d BaseWheel1.7.c4d
  28. 1 point
    Sounds good. For #1 I just means, inside of photoshop you can't get a white paint brush and start making up highlights where there are none or remove things that were not able to be solved while inside of the 3D environment (clone stamping things out). It won't be an issue if you want to render out in passes and elect to strengthen or reduce your reflection pass for example. I'll be in touch. I plan to make this public next week. This should be fun to see what everyone comes up with.
  29. 1 point
    Haven't touched Octane in a while, but last I tried it couldn't stand up to RedShift in getting rid of noise. I don't agree. That's like saying we don't need cinematographers to choose lighting set-ups for real sets because there are already some fluorescent fixtures in the ceiling! Just because new tools are making it easier to get realistic lighting results doesn't mean that it doesn't take an artist to tell the computer what to do.
  30. 1 point
    I feel it's 100% artist driven. I work at a production studio. We start with a dark studio and it takes someone to first and foremost, have a vision, and then select lights, move them into place, set up modifiers, set up flags and scrims, etc. This all happens in real-time without any rendering. Most commercial photographers I know (and I work with amazing ones), still work incredibly hard and struggle at times to get the exact lighting they are envisioning and dealing with getting rid of hot spots, reflections, and shadows that are working counter to their vision. If you're able to light anything you want anyway you want, you should be a Hollywood DP making a million a movie (live action or animated films). In my opinion the render engine is just calculating the physics of the light. It's like a golf club. You can get better ones or faster ones for sure. But you need to be Tiger Woods using it, to consistently deliver beautiful results.
  31. 1 point
    When you have the right display settings, it should look like this:
  32. 1 point
    Thank you very much for taking the time and going to the effort for this, CBR. You're a champ. I'll give it a try Professor Bob
  33. 1 point
    Dusty glass can be made several ways. You can either make a regular glass material, and another one for the dust, then apply both to your bottle (dust material tag to the right of the other one in the object manager), and use the alpha channel in the dust material to define where it appears over the glass. Or you can do it one material using the Layer Shader and Layer Masking within it. Either way, you need to find a good dust texture - either find a suitable texture image online, or make one yourself from various noises. If doing the latter I suggest you base it on the Turbulence-based noises or FBM type, and use poxo for the mask, with highish contrast and controlling the amount of dust via the octaves settings. Here we have a really basic glass bottle I threw together, with a dust material on top of the glass material, and we are looking at the Poxo noise I have in the dust material's alpha channel, which controls how much dust we see. Here we have very light dusting, which we get by using just 7 octaves in the noise... If we up the octaves to 9.5 we get more dust... By 12 octaves, we can see quite a lot of it now... ...and we can push that to 15 to really go overboard... So I'd use a single layer of noise to get the basic level and look of it right, then start combining that noise with larger scale ones to control how it appears distributed over the model... here's one with our Poxo noise in a layer shader, with a large scale FBM high contrast noise multiplied over the top... Now we only get the dust in certain places... The other thing to mention is where that second material gets applied. If you are doing glass bottles properly for example, they will have real world thickness, and you should use selection tags to make sure that your dust material ONLY gets applied to the outside surfaces, not to the inside, where of course there wouldn't be any dust... Hopefully that gives you some idea of how we can layer materials and add dust to stuff. CBR
  34. 1 point
    Yeah that sounds like fun. Would that be a inbuilt renderers only thing, or would you allow 3rd party Renderers too, given their arguable advantage ;) CBR
  35. 1 point
    Don't know if you are still playing with this, but I found a way that is better and faster than all of the above... Collision Deformer - no idea why I didn't think of that before, but at least I have now :) Here it is working with thickness and everything, no intersection at all, almost zero calculation time, and you can freely set any degree of conformity you like just by setting / animating the radius of the cylinder doing the wrapping... Collision Deformer Chain Wrap.c4d CBR
  36. 1 point
    You should use AE together with C4D, for compositing work, it's industry standard, and C4D and AE works great together and have very tight connection. Standard workflow is to render out image sequence from C4D (I prefer OpenEXR file format, 16bit, Half-size), and import that sequence into AE and do all compositing work. At the end, render out final animation from Adobe Media Encoder (Cineform 10-bit file format), as main video, and then render out that main video as H.264, for web, youtube, and similar. Cheers,
  37. 1 point
    Once again you are a completely spot on rockstar. I ticked the 'Single Object', button when merging all the individual primitive objects together, and that produced a much better result. Not perfect by any stretch, but usable for my project. Here's the loop result: I wish I could have figured this out with Explosia from X-Particles, but after trying to wrestle with that for 2 months, within 1 week I was able to attain this in TFD. I'd be willing to go back to Explosia + Octane if anyone out there in the world would be willing to have a hard sit down with me out one-on-one in an afternoon using Skype or something but until then, this will have to do.
  38. 1 point
  39. 1 point
    It's on the Subdivision Surface attributes..right under where you set it to 5 for editor.
  40. 1 point
    You might check this out.
  41. 1 point
    Looking great, Yes UV unwrapping is painful , nevertheless, you made a very neat edge loop selections.
  42. 1 point
    Maybe something like the attached would work for you to get the shape of the fat cell tissue. In this I used a Displacer set to noise to get a faux soft body look. A real soft body sim would be better if your machine can handle it but this is way lower rent and might not matter to you. You could bake it (make editable) and then run the sim @Cerbera suggested over top. Fat Cells.c4d
  43. 1 point
    The above makes sense to me for the connective stuff over the spheres, great idea. I'll definitely keep it in the bank.
  44. 1 point
    Look at HDRI maps in Cinema, which are not square, but equirectangular, and get projected with Cinema's Spherical mapping onto spheres for the most part, and get applied as a full 360 degree panorama, not just the top half of it, which seems to be the case in your example. And if you look at the aspect ratio of those HDRIs you will see that they are not the square type, so your 1:1 ratio image won't work with that mapping. You need to make your background image equirectangular and 2:1 aspect ratio and then it will work with Standard Spherical mapping in Cinema with no need for plugins. CBR
  45. 1 point
    You have 5 in the 'editor' field, not the 'renderer' field. Two separate settings allow you to work/edit on a simpler form and render at another level. Edit: You also have two identical Boole objects at that third location.
  46. 1 point
    You're welcome - happy Damaging ! :) Oh - one more thing I should at least a give a shout out to... if you have R20, the volume builder can give some great results too in the damage department... CBR
  47. 1 point
    This might be linked to the boole (don't they always cause the problems ? ;) not having 'Single Object' Ticked when you made it. That was the case in someone else's question yesterday, although that referred to dynamics collisions rather than TFD. I don't have TFD or have any experience of what it requires in a collider, but I would still make an educated guess that the boole is the issue. You could test this by trying to confine TFD to just a simple isolated primitive (or any polygon object not made by booles). If it works with those, then I'd say the boole remains chief suspect. If that is the case I can certainly model the part you need without booles, but obviously not having TFD myself, cannot guarantee it will work !! CBR
  48. 1 point
    or even easier, just with luminance channels and one wide key light different 2.c4d
  49. 1 point
    you can work around the issue with some tweaking. see different.zip some workkaround steps: - adjust GI Gamma, so lighting is more smooth - blend of luminance and color channel, to decreae shadows - adjusting of Matrerial : Illumination : GI Receive and GI throw settings + Saturation option - adjusting of Material : Color Channel : Texture : Exposure Of course the best solution would be a low poly reconstruction of the set + a Set HDR or at least some kind of Panorama different.zip
  50. 1 point
    the GI lighting in your scene multiplies over the background compositing. the planes become visible, because the GI shadow is visible on them. the question is what do you want to achieve? shall the walls emit light on the object? shall the object throw shadow on the environment? This image shows the shadows:

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