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Everything posted by Cerbera

  1. Please take care to post in the correct section, which is not The Lounge. Moved to Procedural modelling etc. Not quickly, no. It took that guy 3 days, presumably WITH mograph ! You can do all this with primitives and regular keyframed transforms of course, or you could use something much more complicated like Xpresso driven rigs, but it's obviously a lot more manual work if you're not using the primary tool designed for this sort of thing... CBR
  2. ...or just turn off Materials in the Viewport Options ? CBR
  3. I like to use the Hide Mode of Push Apart to avoid overlaps most effectively for denser tree areas. Just checking you've tried that... CBR
  4. Cerbera


    Man, you gotta stop putting those massive human eyes on everything - I've had nightmares about those ! But what a plugin ! Truly great work there Sir ! I am a definite customer for this one. While I'm here though... thought I'd ask - is there any chance that this plugin could work a little bit more like Instant meshes, in that we could somehow use splines or guides or something else to direct the general flow around key areas ? This would still be good without that, but having it would tip it over into being one of the most useful plugins ever ! CBR
  5. Please take care to post in the correct section, which is not Procedural modelling - this is clearly a Mograph question, so it belongs in the General Mograph Category. CBR
  6. You mean added the Extrude as a parent of the spline right ? I would have expected that logo to consist of fair sight more than 8 sub-paths, but it won't be Cinema that makes them, it'll be Illustrator that determines that I think... Could you post the scene file so we can more clearly see what you mean ? CBR
  7. Or maybe formula deformer ? Should be easy enough to get that texture with a bump channel (low delta)... CBR
  8. A lot has changed about the sculpting system since R14. Better to watch one for more modern versions like this one. CBR
  9. Nope - that very much IS directly connected to the renderer, and generally speaking, the people that have Octane are best placed to help you, which is why it should say that in the title and be in that category.. CBR
  10. Well, the good news is that it's quite easy to make hair look like that, and the hair tool(s) are very much up to the job in this case. No need to do it with 'fur'. In fact you can't do it with fur if you need to manually style it. Grooming it can be done with the hair tools like brush, comb etc, all of which you can find about in the manual or by watching one of the more comprehensive hair tutorial series' that are floating about youtube... here's a good one from cafe member @Rectro which is very well regarded and thorough, though probably way more detail than you actually need to make this. You only really need to know how to apply hair, how to alter its length, and some general basic knowledge about the hair material which controls its overall appearance to make this, so perhaps this starter hair video is more useful to you than the complete guide above... The secret to producing really nice 'luxury' fur is to have very thin hairs, and many thousands of them, and to get the scene lighting right, on which fur looking good so heavily depends. Just 2 omni lights with soft shadows would be ideal. You also want to render with Standard Render, not Physical because hair always looks better with the renderer it was designed for. CBR
  11. That's quite a broad question At the simplest level ferns are quite easy to texture because they are fairly uniform green, and presumably we're not going close enough to actually see the cells / veins in the leaves. If that is the case we only need color, luminance (for SSS) and reflectance channels in our material to get a decent base. But what makes 'hero' ferns tricky specifically is what happens to those leaves as they die - they go brown and crinkly at the edges, and that works its way inwards over time until eventually there are holes everywhere and it all goes brown, curls up and dies off. A realistic scene will have to include some of that on hero plants, and that's why we need UV mapping (unless we do it with vertex maps instead). How good are you at UVs ? I ask because it's way too huge a subject to have to teach in any single forum post ! To go over that step by step for someone who hasn't done it before would require an hour on 2 Skype (which would be a chargeable event I'm afraid, but do PM me if you'd like to do it). The overview looks something like this. Using the clone and distribute methods from the posts above I would go on to complete my hero leaf. I haven't had much time to spend on this, so mine looks a bit rushed and sh*** but it does show the sort of stage you need to get to before you UV (or vertex) map your hero leaves. This is a very much 'non-hero' texture but even that would work for background plants... As you can hopefully see, this is one complete frond made up of 27 instances of the model we made above (the tip is another copy but rotated so it's facing down Z) with a new stem, the displacement happening in world space so it is different across every leaf and 3 large bend deformers added to tweak the general shape and hang of the frond and new stem.. Next step would be to get an editable copy of that combined into a single mesh, but without the bend deformers applied (easier to UV map without them). Then you would Unwrap this single frond onto a single UV canvas, (probably using frontal projection from a top view initially and using overlapping UVs so that you didn't have to texture the reverse sides as well). Once you have UVs you are happy with you can output a PSD with a UV mesh layer to use as a guide, and then move into Photoshop to start making your texture. We actually need to make 5 or 6 different texture maps that all use the same UVs, so that our leaves don't look identical when there's a whole bunch of them. We only need colour maps though, so no need to worry about making bump and specular versions as well, which does save a lot of time. I would make a base layer which is the main leaf colour, and then a series of damage layers over the top, which we could switch in and out to make the various maps you need. When you have your maps, now it's time to head back to Cinema, and duplicate your hero frond as many times as you have texture maps, then make a material for each and assign those, using UV mapping as the mapping type, so it uses the maps you have made. Now you can do what you like with those fronds - clone them, bunch them, deform them, scale and rotate them; whatever you need to do to build a decent plant out of them ! So, as you can see, it's quite an elaborate process for hero plants, and you will of course need to do that for the other hero plants in your scene too. The background ones are a good deal easier - I would do those procedurally with layered noises, and gradients. Hopefully that's some help... CBR
  12. Yes it's definitely faster than the other ways. The icon for it looks like this , and should appear with all the other UV shortcuts at the top of the UV texture panel in BP UV Layout. CBR
  13. Thanks. We should tell Admin @Igor about this - I didn't think guests were able to post at all ! CBR
  14. Yes, the Magnet tool, with the right radius settings could sort that out from where you are now, but it would be difficult to keep all the UV points even that way. So a better option would be to select all the top points of the UV and do 'Border to Circle' which will make a decent arch with them you can non-uniform negative scale so it matches the curve of your label. Repeat for the lower points separately and use 4,5,6 keys (move, uniform scale, rotate) to further adjust them until it's all lining up in the perspective viewport... CBR
  15. Please update your profile to the version you are using.... Yep, the answer to most problems of this type in R20+ is fields But the cafe has you covered - head to our own youtube channel and find the whole playlist about them. CBR
  16. Not so silly a question, but it does have simple answer. Alas that answer is no, unless the other tags are attached to children of the first, in which case you can use 'select child tags of similar type' from the r-click or Tags menu. CBR
  17. There are some free tutorials that show the entire process, but as has been mentioned, not in C4D. However the techniques are largely the same so if you have basic knowledge of the C4D modelling toolset you should be able to see the equivalent Cinema processes. This one for Blender is fairly comprehensive and that guy properly understands the thinking behind modelling this sort of thing. Likewise, check out Arrimus3D, and search his channel for car questions - he has many videos about how to solve difficult automotive curvature problems (he's in Max) but he is genuine topo master so well worth absorbing his tips. Patch Modelling is what most people use to do this, but Cinema is rather limited in that respect, although you can re-purpose tools like Loft or Bezier Surface to achieve similar things. Or you can download the free Coons Mesh plugin from MAXON Labs, which can create patches based on intersecting splines. Or buy Spline patch, which is like that but a lot better. CBR
  18. Forgot to address this one. You can turn that off in the View Settings / HUD menu. If you then save your layout as default you'll never see it again ! CBR
  19. In Cinema that's called (rather more appropriately IMO!) Collapse (U-C), although Weld (M-Q) does mostly the same thing in this instance. So you'd just Inner Extrude (I) that big n-gon one more time to add another edge loop, then use Weld or Collapse commands (r-click menu) to reduce it to a single point. The difference between the 2 tools is that Collapse ONLY collapses to a single central point, whereas Weld offers additional control in that you can choose the point it welds to. CBR
  20. Its the last option in Window / Customisation menu (Save as Default Scene). CBR
  21. Dammit, and I thought I'd be the only one to actually check CHESS with R21 - and didn't find that bug myself ! But actually, believe it or not, this has already been reported ! Cheers dude CBR
  22. No, like Bezo I don't think there is. Those exist in all layouts, and can't be removed like conventional icons can. However they are also in Render Menu so there is a valid case to be made for having their appearance in the main GUI as an optional preference. Why not suggest it to MAXON via their web site ? CBR
  23. I think I'd describe one of those as 'major', and the ProRender issue is already under investigation, but thank you for reporting it nonetheless. As far as affected systems go it certainly isn't all of them, as I have functioning ProRender in my R21, and I don't even have hardware that properly supports it ! Anyway, hopefully it will be fixed soon for all systems. I can confirm that the Bold Interface option (or rather its lack of appearance after restart) is also the case for me, and I have reported that for you. Alas I am not in a position to test frame rates, so can't comment on that, but please do report that yourself via the MAXON Site or via Support. As far as the grey / blue goes - have you found the option in Project settings that lets you change Default object colour back to the original it always was (listed as grey blue in the drop-down) ? There is no set as default for that because Project Settings are saved with the default scene, so just do that instead with the handy new option for it under Customisation menu. AFAIK, I don't think you can remove the Node Space option, but I wouldn't call that either incomprehensible or useless, however it is available elsewhere (render menu) so I can perhaps see why there should be an option to remove it from the GUI. You could use MAXON's Suggestions Page to suggest it to them... CBR
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