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Cerbera

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About Cerbera

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  • Birthday 02/28/1973

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  • First Name
    Jay
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    Wood
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    20.057 Studio
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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. There's also the now very old but surprisingly flexible and controllable (and still working right up to R20) C4D Tree by Chris Schmidt, originally written for R10 ! CBR
  2. Try adding a compositing tag to the Floor, then unticking 'seen by reflection'. CBR
  3. The big lanyard hole shouldn't be causing you any problems - you can even do that with a single inner extrude on the base mesh, like so... we don't have quite enough edges, but we can still wrangle this into the right shape later... So this shape matches pretty closely, but if we apply L1 SDS, we could then further slide the edges to better define the cutout... BUT if we do it this low poly, we do risk introducing some lumpiness. Whereas if we cut that hole in AFTER we apply SDS L1, we can do it much more nicely, and our curvature remains undisturbed... CBR
  4. Ok, I think an FFD deformer (5x5x2 or similar) is your best bet for that... CBR
  5. Please take care to post stuff in the right place... Moved to Mograph etc... CBR
  6. Hypernurbs (deprecated) is now called a Subdivision Surface. But that won't help you on a high density plane. You'll probably have to use a boole for that, but difficult to advise without a) seeing the object (and its topology) and b) knowing what the final use is so we know what topology (if any) needs preserving... CBR
  7. Ah, I see I mine is way too square up the top end :) But however we get those sections joined, we are going to have to subdivide one more time once we have... Whilst the larger lanyard hole can go in at L1 when you've joined the 2 sections (because it is a rounded shape which doesn't need extra edges, other than those you get from a regular inner extrude) to define it. But then you have to make symmetry editable to add the small lanyard hole, and the USB cutout on the right there. The latter of those has some sharp angles, and L1 is not enough to get those so you will need to apply ANOTHER level of SDS before you make those. In fact as it turns out, L2 isn't quite enough either, but by then our curvature is so established that any extra cuts we make cause very minimal disruption... CBR
  8. I am not sure about the wisdom of trying to cut that into your existing body. It's possible, just not preferable. So I did a quick test, and confirmed to myself that you can make the body from scratch in under 12 mins, and it could look a little bit nicer for it... Here we are under a L1 SDS so we can check that our topo will perfectly meet the cutout when that is applied later... Sorry - I don't mean to be giving you advice you don't need, but it's such an attractive object I couldn't resist modelling it myself ! And figured you might find it interesting to compare topology choices even if you go with yours in the end... CBR
  9. Yep, that whole course is excellent. I only wish that Pluralsight had kept the whole thing - currently the course is not even listed on their site, or if it is I can't find it ! CBR
  10. I like KoS's solution to the downstepping, but really guys, you are making this unnecessarily difficult for yourselves :) Sure, I said delete every other edge, but as soon as you have the low poly body I also said add back / apply 1 level of subdivision, which would turn those 8 points straight back into 16 so you can join to the buttons section. There is no need to manually make a 16 meet an 8 at all ! Sorry for confusion. CBR
  11. Yes, almost exactly the words I used in my post above ;) lols. If you delete every other edge at that point you'll have an easier time doing that, and it should all match up exactly when you re-sub-D it later. CBR
  12. I should have gone to bed, but remained upright long enough to try some proper macro-level carpet as per the plan above... This is still a long way off how good it could be, but I reckon it's more what that looks like at this sort of magnification. Slightly too tufty, and whilst we're chilling that out, now we can try your red colour - here perhaps the medium variant... Again not perfect, but hopefully you can see how we can begin to work this round to being more what you want... We are treading a slightly fine line between what looks like carpet and what looks like fur, but we certainly can't say we are lacking detail anymore... However, by chilling out the clumping (making less hairs do it) we've been able to do this with only 1 hair system and 20,000 hairs which isn't too bad. From these tests we can see that for the sort of area you need the camera to cover in your final shot, you can probably do this in about 2 million. It's gonna take a while, but not ridiculous. Here's the scene file for that if it helps... Macro Hair 02.c4d CBR
  13. The trouble is that the hair system was designed to make stuff look realistic when the camera is a certain distance away from it. What you are wanting is something much more close-up, which is, at the end of the day going to involve a lot more detail, and although Cinema is probably up to it, wherever there is additional detail, you will be paying the price in render times. Here's some tests that illustrate the issue. I can make pretty decent carpet from a distance with just 1 hair system (here based on your reference rather than the red stuff)... Nothin special, but it kind of passes. And if we add another layer of much finer, frizzier, kinkier hair, then that all starts to look quite convincing... But if we zoom in to the sort of scales you're talking about viewing it, it no longer looks much like your reference image. We've lost all that fuzzy feel and what looked quite detailed from a distance is now not much more than painterly blobs, and the word carpet doesn't really apply ! :/ Ok, so let's add in and dial up (by which I mean massively increase the numbers of) the fuzz layer, which should improve things a bit... ...and yes it does - it's certainly better than without it, there's a lot more detail, and we are starting to get more of a carpet-y feeling back. Is this level of detail good enough for your purposes, or do we need to look at the microstructure of actual carpet, which looks like this... Once we get down to this sort of scale, the whole structure changes and we can see that each 'hair' is actually a somewhat flattened collection of tufts of much finer hair. I think it will take some serious effort to get this sort of look with Cinema's hair system, though maybe if you have hours and hours to throw at it you can get close. Render times will be sky high even if you can persuade it to look like this, but we just have to accept that if we want the detail - nothing in Cinema is gonna render faster than hair, so this remains the best way to do it if it can get the result you want. One tip about how to iterate through your tests - I would start in a new file on a really miniscule plane, and only try and make one tiny area of it - that way your render times won't infuriate you as you find the right combo of settings... literally try and make just 3 or 4 tufts initially - and I think clumping and curling, and a separate frizz layer as above are going to be things to try first.. I don't know how helpful this has been, but you might be able to work with the double hair technique to get something passable... I wish you the best of luck and do show us what you end up with... if I make any progress I will also post it here. CBR

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