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Cerbera

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Cerbera last won the day on July 16

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About Cerbera

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    Imperial Archon
  • Birthday 02/28/1973

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  • First Name
    Jay
  • Last Name
    Wood
  • C4D Ver
    Alpha | Beta
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    South East, UK
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    Aerial Photography, Pianoing, Guitaring, Bassing, Drumming, Audio Production, stupidly fast Electric Unicycles, String Sections, Flying machines, 3D things, technology, critical thinking, cats, nature, skies, large hairy spiders, robots, dark scary synth drones and Omnisphere.

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  1. This one can probably help you out if you're going with method 2... CBR
  2. You're welcome. Very useful things those compositing tags :) CBR
  3. Not if you dump them all in a single null (per colour) and assign both materials to the groups rather than the individual objects... CBR
  4. OK, that's fine; R17 should be able to cope with this. If I have understood you correctly (and not 100% sure I have) don't you just need a compositing tag on the desk with Seen By Camera unchecked ? That should still leave the shadows it casts on to the backdrop... CBR
  5. Re scratches and whatnot, yes, you should be able to use a totally separate material for your scratches and whatnot, which means it can be assigned over the top of other materials (and whole groups of objects), and have its own independent mapping. Obviously that is contingent on you using an alpha mask so you can still see the texture underneath. CBR
  6. Where did you get R17 from ? That hasn't been commercially available for 3 years. CBR
  7. If we're in space, then the should be massive sun somewhere right ? The stars won't help much but the sun could, so I'd make sure it was somewhere behind the camera so that you see it in reflections to best effect. What is also working against you is lego being largely flat surfaces, so the opportunities for seeing those refs is limited to the round bits unless you can set angles that put the sun or other luminants within the reflection view of the large flat areas. The other thing that is detracting from realism is the perfection in everything. Even if we imagine that this lego did actually get to space somehow without disintegrating, it would surely be covered in a liberal layer of exhaust detritus / dust and general filth that is entirely absent from the image so far, but would that compromise the look you are going for ? Additionally I'm not sure that 'all the greys' are the colours that instantly make people think of lego, so you may be losing a bit of psychological reinforcement there too, although of course I accept that if it has to be grey, it has to be grey... CBR
  8. Hair is never going to wrap around anything I'm afraid, unless you use custom splines as hair guides that you have wrapped around stuff to control it. The collider functions will at most push it out of the way, not make it wrap round stuff. You may be able to fake the effect using colliders and then the curl or other function of the hair material to give the general impression of it curling over the top, but you won't actually get one lot to wrap itself around the other without those custom splines... CBR
  9. Lego is quite shiny as I recall, so the first thing I'd check is that you are using a high contrast HDRI applied to a sky object to get those sort of realistic reflections picked up by the objects in your scene... then I think your reflection level of 15% is a bit low - I'd be aiming more for the high 30s I reckon. Unless you have a specific reason for using it, I would turn GI off as well - that can often add a 'softness' to scenes that won't necessarily add to realism here. CBR
  10. I also thought the Collision Deformer would be the way to go here, and spent a fair amount of time playing with falloffs to try and get closer to OP's first ref pic. But we really do need a ludicrous level of polygon density in the collider plane to achieve enough level of detail in the impression of the model we're pushing through (meaning it is VERY slow to update changes), and I was unable to get any falloffs to look like realistically stretched cloth that way. I didn't get a great result with smoothing deformers and a vertex map in the stiffness field either, and we would have to find a way to make that vertex map change based on which parts of the animated skull was touching it, which I'm sure is possible, but isn't something I have tried before... And then I remembered the Tension tag. I haven't tried this yet, but that would certainly be one way of getting wrinkles in the right places... you could use that with a material or a displacer deformer to do displacement of your collided mesh, which might give you the sort of clothy stretching you're looking for, although I guess this will depend on you driving the displacement with the right sort map, and like you, I am not sure what that would look like - presumably that would also have to change based on which parts of the skull were in contact with the sheet, so we might have to get a proximal shader involved as well... It is an interesting problem - I look forward to reading everyone else's thoughts on it.. CBR
  11. Photographic professionals will probably tell you not, which may or may not have to do with whether they are selling HDRI and backplate sets... For the rest of us you can just open the .hdr directly in photoshop CC, set the exposure, and zoom / crop in on a part of the full HDR image. But removing the perspective distortion can be more of a challenge. You need the exif data from the camera that took the HDR ideally, but if you have that you can use PS's lens correction to sort it out. CBR
  12. Of course we might be overthinking this... If your plan is to eventually use a rocky sort of texture, then you don't need any seams at all, and can just do a top-down frontal projection of all polys at once followed by an ABF relax with Pin Border Polys off, and you'll get a highly usable result something like this one... not really that much distortion anywhere in particular which may very well be good enough. The advantage of a no-seams approach is that you can view the object from any angle and there are no seams to show up anywhere ! But the disadvantage is that we might expect some texture stretching, certainly more than had we used some seams and multiprojections. No seams.c4d Just load any rock texture you like into the material's colour channel and you can test this yourself in the above file... CBR
  13. Yep, you can ask questions here, hopefully i will see them if I am around, but there are lots of people here who can answer them so no need to wait for me specifically... I did a fairly arbitrary seam placement just to show you the general principle of choosing seams and UV unwrapping - but because I am unaware of where your final camera will be, and what angle you are looking at this object from I can't really decide where to place the seams to optimal effect until I do know that... So, to avoid the distorted 7 in the shot above we just need more seams and more projections than the 2 I did originally. Here's one with another seam added, and the UV split into 3 islands. I also fixed the degenerated polys on the mesh that were preventing a UV relax by optimizing it in Points mode. So now we avoid distortion in that area, but we do have an additional seam that may be visible to camera depending on where that is parked... so seam choice should be at least partially depending on the angle you are viewing it from. Does that make sense ? Here's the scene file for that ( don't forget to relink the texture!)... rock front sample 2.c4d CBR
  14. Select the points either side of it, then r-click and choose Break Segment. But of course you can't do that between the first and last points of a closed spline, so first you will need to move the first point of the spline somewhere else in it, so select another point on the spline, r-click and choose Set First Point. This will change the appearance and way the text connects together, but if you won't touch the control that would avoid that then what else can you do ? It's a bit like getting in a car, and refusing to use the steering wheel ! :) If you need open and closed splines they can't be the same object, so the better solution would be to move the 'd' to its own object under its own sweep - then it can be an open spline as you need without affecting the rest of the letters. CBR

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