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Cerbera

Cafe Crew
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Everything posted by Cerbera

  1. You found it before I could tell you I do like these self-solving problems... CBR
  2. That is very odd. Please do a support ticket about this, including the scene file. We could also do with a look at that, which might give us a better understanding of what is going wrong, or what can be done to circumvent it... CBR
  3. Do you have the SP1 update to R21 ? (.115) CBR
  4. I'm not sure that can be done, because in moving the vertex map from the correction deformer back to the primitive, which you'd have to do for this to work, you lose the points information on which the vertex map depends. If there is a way round that I don't know it.... Perhaps someone else does ? CBR
  5. I don't think we can do that, but not 100% sure.... CBR
  6. Welcome to the cafe You need to include a lot more setup information than that, and ideally the complete scene file. Please also complete your profile so it shows at minimum what version of the software you are using. CBR
  7. A brief glance at the manual shows this is a limitation of that effect... indeed it doesn't work with soft shadows if you are using the Physical Renderer. CBR
  8. As Ras says, a lot of design sensibility is intrinsic and personal, but there are things to be learned, like the history of art, and general design helpers like the Golden Ratio, concepts like negative space, the Rule of 3rds etc etc. But just as there are Youtube and Vimeo videos that cover nearly all technical and practical uses of Cinema, there are also videos on the basic 'rules' of design, and there are a lot of them ! Here's an interesting one to get you going... But while you are learning all this stuff, it remains more important that you dive in there, and start making what looks good to you and beginning to define the things you like, and the things make your work and style unique to you. Do short, achievable projects, and lots of them, and share your works in progress - other people can be very helpful in letting you know what you could do better, or where to focus your learnings next... CBR
  9. Yes. It's not that hard to achieve, but those sort of looks are created by a number of different elements. 1. The Models... ...are always very clean and precise, and tend to use very visually pleasing and regular forms, often based on simple primitives. 2. The Lighting can be done several different ways. Sometimes a standard photo studio setup works fine - 3 omni lights with soft or area shadows. Some people prefer to do it with sky object (use a swept gradient rather than an HDR in the material applied here) and Global Illumination. Ambient occlusion with soft, subtle settings can be used as an alternative to GI for when that is too slow. 3. The materials component channels will be different depending on how you are doing lighting. In both cases you need colour and (subtle levels of) luminance channel, and reflectance, which you would use mainly for specular content with standard lights, or with diffuse reflections if you are using GI. The Phong model here with roughness values of around 60% is good for this sort of thing. Your luminance channel can either contain a more vibrant version of the color channel's colour (at low levels), or it can contain Subsurface Scattering for more subtle 'inner light' and backlit effects at the expense of longer render times. There is no 1 set of settings or rules that will work for everything, and each scene you make will need something different, but those suggestions above might make for a good general place to start before you get into the hours of tweaking that produce a result you are finally happy with. Or you can not do that, get it generally right, then fix it in post ! And indeed, lastly, don't underestimate the value of post production. You'd be surprised how much of a final look is arrived at in AfterFX or similar, which can utterly transform or enhance the look of any 3D footage that emerges from Cinema. Nearly every still shot should go through Photoshop as the final stage, and the same is true of animation and AFX. Often that extra final sheen and level of classiness comes from subtle grading choices in post. So there's some stuff to think about... hope it helps. CBR
  10. Welcome to the cafe Please complete your profile to show at minimum the version of Cinema you are using - answers are often version-dependent. If you created a new material and applied it correctly, it should have changed just the one you applied it to, so I have to assume you did that wrong somehow. The group has nothing to do with it, because your material isn't applied to the group null. Grab the swatch of the new material from the material manager, and drag it to the exiting material tag on the model, which will replace it. If that doesn't work please upload the scene file so we can investigate further. CBR
  11. Whenever you post a problem like this, we almost always need to see the underlying topology, so you should include some pics that show this... Really you should ALWAYS post the scene file so we can actually investigate the true source of the problem, rather than having to skip through a series of guesses because we don't have information to properly advise CBR
  12. Yeah, sometimes it is not obvious, but in this case the spline, the sweep, the align to spline etc are all functions of or related to various generators, and you are doing largely procedural modelling / animation. Please don't take my reminder personally - I have to do those because so many people are not aware of the categories, so just post anywhere, and it's difficult for me to know if someone has thought about it, or if they just posted carelessly. You obviously did think about it, so cheers for that ! CBR
  13. It is fully working for me in R19-21. Which version of the software are you running ? 19 point what ? Also please put that information in your profile, as 19 demo is clearly not the case... CBR
  14. We need to see the file to be 100% sure what the problem is. Please upload it. CBR
  15. Please be careful to post in the right place... moved to Procedural Modelling. This is probably caused by your easing not matching in the interpolation of the keyframes. Try setting them both to linear and see if they sync then to confirm this... Also, make sure the spline has uniform points. CBR
  16. Doesn't that detailing only appear on the inner walls / surfaces unless you untick 'keep original surface' ? Your chunks are very thin but I can see it is there. CBR
  17. Not me. A lot of my job is repairing the awful topology generated by these programs when clients find they actually need them made properly for later animation etc. There are hard surface workflows in Cinema that are just as fast as in CAD programs, and i have a lot of helpers like Quad Remesher and HB modelling bundle, so for me it's easiest do everything there and not generate the rubbish topology in the first place ! CBR
  18. Here's the next bit.... ...symmetry has now been applied, and we can Ctrl-drag out groups of edges from the discs to connect them together / to the first square borders Having completed the corner polys (done with polygon pen so they snap weld to adjacent points) , and added a loop or 2 down the middle (so we get more even polygon sizes) we now need to add these loops to define how the square corners will work under Subdivision... With the Symmetry under a Subdivision Surface object we get this perfectly smooth rounding and cornering, which is a good start... Next we need to expand our square perimeter, and can begin to add depth to the model. Using the techniques above, and regular polygon extrude for rims, that would look something like this... CBR
  19. If you did wanna get straight in there and try this with poly modelling, then you could start by outlining the holes with suitably segmented disc objects, like so... We don't need the bottom hole, because the next stage is to combine all the meshes, then delete the lower half and use Symmetry so we only have to model half of it. I realise the lock isn't strictly symmetrical, but it still makes sense to build it this way, and that is why I've lined up the smaller arched hole (which again was started with a disc object split in half then bridged) on the right with the symmetry center rather than the reference - that part can always be moved later when symmetry has been applied and we don't need it any more. I'll pop back at various points of the day to add further stages to this if I get time, but that's how I'd start. CBR
  20. It takes a fair while to learn modelling in Cinema, and we can't teach you how to model in any single forum post - there is simply too much to know. Best thing to do is to watch some starter videos on Youtube that show you round the interface, and what the primary modelling tools are, and how and when they should be used. Here are 2 good ones to start with. But here's the overview. The tardis itself is very simple and, as you have seen, can be made largely from primitives, which you can make editable and then start modelling with. There is no need for booles anywhere here, and you should avoid them ideally - they will only cause you problems later. The Yale lock, on the other hand is quite a difficult thing for a beginner to build properly, so if you need fast results you may have to cheat and use something like booles or the Volume builder to get all the holes where you want them without having to worry about topology. I would maybe avoid trying to poly model this part now, until you have worked up to it with simpler things. CBR
  21. Hello and welcome to the cafe CBR
  22. Lols - you're lucky - I was one step ahead of you - also made a curved setup as well For that we need more points in our dashed lines (think I used 8 or so), so that the dashes can follow a curved path. For this I used Spline wrap. So, we still clone in a straight line like we did above, but then we spline wrap that whole cloner along the original path, and tweak the various settings until we have the right amount of them and it all fits. Here's a scene file, which will help you understand this better. Dash line on curve CBR.c4d The Setup Null shows how I made this, but the editable copy of the result is the second spline under the sweep object which we can easily use to turn the dashed line into physical geometry if we want... Hope that helps CBR
  23. Loads of ways to do this, but nothing automatic. You don't say if it's a curved or straight dotted line you need, so I'll assume the former... Just clone a single 'dash' with a straight helix spline in regular iterate mode in the right direction ! Or better still, just draw a segment of the right length for a dash with the spline pen tool, and clone that instead. Next, when you are happy with the spacing you set in the cloner, do Current State to Object on it to get a copy, then combine all the splines in the null that creates with Connect Objects and Delete to give you a single spline with all the cloned segments... Settings shown below for the first bit of that... CBR
  24. Collision deformer, with restore shape off ? That'll make a dent where the head was, but it won't deform in the same way a pillow does, with all the radial creases coming out from the indent. Not sure what we have that can do that TBH... Marvelous Designer is where people usually go if they want realistic interactive cloth type deformation. It might be worth trying something with our own cloth systems, but generally they run very slow at the sort of epic resolutions you need to get those counter-flow creases and tend to have intersection problems. But softbodies might be the way to go. Did you see today's Rocket Lasso, in which Chris Schmidt's first question of the day was something similar, and he was getting amazing folds and creases !? Head over twitch.com/rocketlasso to watch Episode 2 of this season to explore that further and to see if it could apply to you here... CBR

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