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Cerbera last won the day on November 20

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About Cerbera

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  1. Have you found the Project Asset Inspector in R21 yet ? (Window Menu) That tells you what's using the missing one... CBR
  2. Remodelling is usually the only answer in situations like this unless: a) You have a plugin installed that will do it for you like the recently released Quad remesher by Exoside (paid) or Instant Meshes (free but not optimized at all for this sort of hard surface mesh) b) you can use the mesh deformer to make your existing polygon nightmare model follow along to a low poly cage you can animate separately. Otherwise, it's gonna be a rebuild, time for it or not. Or Maybe you have budget to pay someone else to retopo it for you ? Depending on what level of detail you want I could do this most likely in under an hour for example... do PM me if you'd like to discuss that. CBR
  3. Yes, and that will leave you with just the sunlight. To do that just go to the basic tab of Phys Sky and turn off sky there. Obviously you will lose any nice ambient light coming from that sky (after all the outside is not lit by sun alone), but it may be what you want... Recognize what is going on here though. HDRIs are used for both reflection AND illumination (if GI is turned on). Physical sky tends to look a lot more realistic with GI on for example (there's even a dedicated GI preset for it !)... So, if you ARE using GI, and want your lighting to come from the HDRI AND the sun, then that's what you do. No GI means you are only getting reflections from the HDRI and the only lighting in your scene is coming from the sunlight, which probably means you need another light source in there to simulate ambient or 'sky-dome' light, which is what the Physical Sky's Sky Tab would have provided if you'd left it on ! Make sense ? CBR
  4. You can't do both together so easily. You either base your clones on the surface or some part of the topology, not both. Or by 'offset from edge' do you mean the physical boundaries of your geometry rather than edge as in points, edges, and polygons ? If that is what you mean just select the center polygon, do a Set Selection, and drag that tag into the Selection field of the Cloner, just under where you put the object - then your clones should only appear over the surface of that polygon... but just be aware that your random settings could push them out of that area though, so if that is the case, just scale that center poly down a bit to give yourself more room to play with... CBR
  5. Generally though, we only need to see the complete file if the wireframe screenies don't show us enough detail or you are asking a specific question about something.... CBR
  6. If you clone in Object Mode using Edges, there is an offset control right there in the cloner settings. CBR
  7. lolcats The realism of reflections comes entirely from the detail and contrast in whatever you are using for a sky. The default physical sky is not very detailed at all, so if you want to use that for refs, then you have to make it so using the numerous sky controls. There's a weekend gone right there ! The real advantage of the Physical Sky is its sun controls and the fact that you can easily move to any time of the day or night and get a reasonable start to your directional and ambient lighting. In your case though, and where you want a nice quick easy result, then either do what Dani said, or use any old HDRI with proper dedicated sunlight as well, which Cinema offers via it's sunlight or directional light types. Even though sunlight produces quite a hard shadow, it is still best to use area shadows on these lights (as opposed to raytraced or shadow maps), which are more realistic. CBR
  8. There are 3 core types of modelling at which you must be proficient if your goal is to be a decent all-round modeller with above-average skills. Those areas are: Subdivision Surface Poly modelling (mainly for organic / character forms) Hard Surface Modelling (mainly for non-organic forms, doesn't involve SDS) Sculpting and Retopology (good for roughing out forms, adding hi-res detail or modelling complex organic shapes that would be inefficient to do via regular modelling) So first order of the day is learning the principals and rules that apply to each approach, and how the specific tools of Cinema apply in each context - ie what you should and shouldn't use them for. Then I'd say make your poly modelling as good as it possibly can be, which means thoroughly understanding edge flow, and how to redirect it at will, and to be able to solve tris and ngons to quads in any topological situation, and to be able to see what the edge flow should ideally be just by looking at any form. That process alone can take years and years to master, so that is what requires the most work IMO, and is perhaps the hardest skill to teach as most of it comes direct from experience. However there is some advantage to being sat down and told, right from the start what the rules are, so that's why I offer 4 hour 'modelling starter' skype sessions that provide this vital info, supported by numerous reference sheets / notes to make sure you don't forget it ! It's also useful in that you can ask questions as we go through it. (PM me if that interests you). I'm confident that everything in your room could be made using one or more of the 3 approaches above, including the xbox controller, (which should use the first method). You need to get into the habit of 'seeing' topologically. Wherever I go now, my brain pretty much automatically overlays virtual polylines over everything I look at for any length of time, which is very helpful as you can practice it anywhere. It's especially helpful for passing time when waiting in traffic jams or at subways etc, because the back of cars and general infrastructure are usually quite interesting in that regard I start most projects with a good half an hour's 'purposeful staring' at reference of what I am going to make !* Modelling the stuff in your room is a good way to practice - I certainly remember doing that at one point. If you are proficient in each of the 3 areas above that is pretty much all your modelling bases covered, but very important not to neglect the other areas of Cinema that allow you to produce a final result - ie UVing, texturing, proper lighting (as different from HDRI on sky, GI and hope for the best!) rendering, and compositing... CBR * Don't do this at girls in bars - it is hard to explain that you are staring because you are 'plotting the topology of your interesting and unusually angular nose'
  9. Yes. There are 2 methods for that, cubic and 'by angle'. Here's the first one. You can see the issue with this though - sure - it has laid out all the polys flat with no overlaps (good), but it has also separated it into hundreds of tiny islands (bad), so there are loads of seams all over the model, and their placement is uncontrollable. However that may be all you need for Substance... best thing is to try it and see. We should also note that meshes produced by the volume mesher don't make great UV maps even in the best of circumstances because of the somewhat arbitrary nature of (or in worst case total lack of!) poly flow through the mesh, which makes seams difficult to choose and select and also awkward to see and work with (polygon density-wise) in the UV view. Had this shape been made (or retopo'd) via regular poly modelling it would be a lot easier to UV properly and you wouldn't have to rely on any spurious auto-methods with all those unnecessary seams. CBR
  10. Heads up, I don't have Substance, but do know a little about how it works and what its advantages and disadvantages are. Yes, I think you do need to UV stuff. But this is not so challenging because it doesn't have to be a perfect UV map - you just don't want loads of unnecessary seams or overlapping polys. Even the former of those Substance can deal with because it is very good at hiding seams, so even Cinema's default unwraps can provide a workable result AND you can instantly convert standard projections to UVs with a single button in Cinema's UV edit. Although (again) I don't have it, I would imagine that Rizom's default unwraps are even better. CBR
  11. I am referring there to the Symmetry Object I am usually using to build my base mesh and which gets added very early on in the modelling process. I find that can typically stay right up to the point I need to apply subdivision (after which it can be 're-symmetried' if necessary for further modelling), or to UV, rig, or sculpt - ie when modelling should be finished (see 'Order of operation' - ie finish one process before you start the next!). Also, let's not forget the HB modelling bundle, which improves things as usual, this time by providing scripts that setup symmetry in a single click, allow you to to specify an edge along which symmetry applies and that repair centreline misalignment among other things. My favourite of his tools in this area though is his 'Clip Symmetry' which combines booles, symmetry and scripting to make all sorts of symmetrical polygonal forms very very quickly, and can apply to primitives as well as poly objects... CBR
  12. Correct. If this wasn't the case the points of primitives / generators wouldn't be available for subsequent weighting, which of course the joints need to tell them which joint controls which part of the mesh. This has been the case since the inception of 3D modelling as far as I can remember. This is why order of operation is so important in 3D work. However, given that we have regular symmetry as the primary modelling helper, sculpt symmetry, weight symmetry AND tools for mirroring joints I would say we are pretty well covered in that regard, with each type of symmetry being particularly useful for each specific purpose. CBR
  13. Still working on this, but have decided I haven't got the inside of the mouth right yet, so am redoing that. Fortunately we do live in an age where even the most specific and hard-to-come-by reference shots have been uploaded somewhere or other. Thought I'd share this incredible video for example, where a white shark actually takes a 360 degree camera into its mouth for a little 'taste test' which has been most helpful in that you can pause while the camera is in its jaws and look around ! Cam-eating shark arrives at about 2 mins in. I am also doing animation and movement tests, and the character object is doing a pretty decent job so far, though it is proving quite difficult to work out where exactly the 'central pivot point should be for a) the body in its basic swim motion and b) the lower jaw and snout when it opens its mouth. CBR

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