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DeCarlo last won the day on October 12 2017

DeCarlo had the most liked content!

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50 Noble Beginner

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  • C4D Ver
    R17.055 Studio
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    Bloomington, IN
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  1. Just released the trailer for my short film! I'm headed to Columbus, Ohio tomorrow for the world premiere and the first stop on its festival tour.
  2. Ooo! This looks extremely helpful. This might be the tipping point for me upgrading to R19.
  3. Seeking Collaborators for Short Film

    Don't worry, this is my first project collaborating as well! I'm out of town for a few days, so I'll send you a message with some details when I get back next week. The two big grass challenges will be designing overgrowth/undergrowth around objects like a tree and a bench, and figuring out how to optimize the grass for renders. There will be frequent close-ups of characters/objects in the grass with some dynamics to push it around, so we'll probably want to carve up the set into foreground and background grasses. Thanks!
  4. Seeking Collaborators for Short Film

    At this point, I just need help with the background, set design (peripheral models), and the grass. If one of those things interests you, let me know. :)
  5. Messed up Texture

    It looks to me like you need to add a Phong tag. Phong artificially smooths the edges between polygons. In the case of a tube like this, it's the difference between seeing each segment and having a perfectly-round tube (without using a ton of polygons to achieve it). To quickly see the effect, simply add a new tube primitive, then delete the automatically-added Phone tag. That's what your object looks like.
  6. I'm glad it might help. About 98% of my last film was either this helmet or a truck with windows, so I've been pulling my hair out over this for months!
  7. I *finally* got a decent workaround functioning, so I figured I'd share it before someone takes the time to suggest it to me. Basically, I included background objects in the character layer, but used compositing tags to hide them from camera. Since the background going through the helmet is considered "refraction," it isn't affected by the "Seen by Camera" setting in the tag. This means everything seen through the helmet gets rendered in the character layer, thus sidestepping the whole transparency/alpha issue entirely. (Honestly, this creates a better image, but the simple transparency layer was supposed to cut down on the sheer number of polygons in my high-quality Physical Render pass.) The reason why I couldn't figure this out previously is that the Sky object doesn't affect the alpha! (see below) It gets seen by the refraction pass, but adds nothing to the alpha. I simply moved the sky material to a giant Sphere and it now behaves as expected. Still, if anyone has a solution to the transparency/alpha issue, please let me know; it would still streamline a lot of my work.
  8. I hope I'm missing something simple here, but I am utterly failing to layer a transparent object using alpha - which seems like it should be pretty foolproof. The first image is rendered in a single pass (physical renderer). You can see how the opacity of the helmet is uniform. The second image was rendered in two layers: the character and the background. With straight alpha, I simply dropped one layer onto the other in After Effects. You can see how the helmet is somehow more transparent than in the first image - as if the alpha map was too strong. Or maybe the alpha is fine, but the glass rendered too dark when done in its own pass. Either way, the part of the helmet over the eyes appears more opaque/brighter than the rest of the helmet. Is there something I'm missing? (Note: the background in the second image was rendered with the Standard renderer, which is why it looks so different - which is one of the goals of separating the layers.)
  9. Advanced Facial Rigging

    It's in the job line.
  10. Advanced Facial Rigging

    I'm looking to overhaul the animation in my film and I need help creating a more advanced rig for my main character - particularly the facial animation. Please send me a DM with a price (face and/or full rig), examples of your rigging, and expected turnaround (4-6 weeks would be ideal).
  11. Front, Side, Top, etc. views are orthographic and are designed to help you edit your scene, not for rendering. Things like "Title safe" and "sky" are designed for perspective projection. I'm not sure what to tell you if you are trying to render orthographic projections; there might be options, but the software is designed for rendering from the perspective of a virtual camera.
  12. You've narrowed it down to what's slowing things. Now you have to start testing how to optimize and diminish that load. In your render options, look at "reflection depth" and "Ray Threshold." Depth refers to the number of bounces in a reflection. You've described a room with reflective surfaces on each side. If you've got the default depth of 15, then it's trying to blur 15 reflections onto every single surface. Literally drop this to 1 or 2, and see how it looks (it will run SO much faster). With blurred reflections, you will hardly tell with the resulting render. "Ray Threshold" does a similar thing, but basically when a beam of light dims to the threshold, it stops bouncing around your scene; raising the threshold helps drop really dim rays that won't affect your scene very much. 1% or 2% should help render time with minimal effect on the appearance of your scene. I'm sure there are additional ways to optimize your lights and materials to the specifications of your scene, but people would need to see the scene or at least screen shots of objects and settings to be able to provide any useful feedback.
  13. The white "boxes" are the bend deformers. Immediately to the left of the green checkmark in your object manager are two tiny circles. The top one represents "show in viewer" and the bottom "show in renderer." If you click the top one twice, it will turn red. Do this for your four bend effectors and they will no longer appear in the viewer - while still functioning in your scene. It's easy to turn them back on if you need to make adjustments to the effector.
  14. @Dannyx Honestly, there's a bit of a paradox with computer power. I can't remember the exact term, but the idea is that when you have access to more power, you'll be inclined to use more. For example, if you buy a car with better mileage, you'll drive more miles rather than buy less gas. Likewise, if you invest in more computing, you will be less inclined to optimize, and thus end up with similarly long render times. So while you have tight computing limitations, spend the time to learn all the little things you can do to optimize your scene with minimal impact on the quality. The moment I see a slow render, I start turning off effects. Do a baseline render with nothing on. Then turn on AO and see the impact on render time. Do the same with GI. Lower some quality settings and do an A/B compare in the picture viewer to see what the quality difference is between high and low settings. Lights can also be big culprits, so you can turn on/off different lights to see where inefficiencies are. If an area light is slowing your scene, play with its settings, or exclude objects that are barely being affected by it (but still slowing your render). Consider using Composite tags to turn off effects on specific objects. (E.g. I had one project with a high-poly cornfield and I turned off reflections for the corn - it offered essentially nothing to my blurry reflections, but the 10,000 high-poly corn plants in a blurry reflection were killing my render times.) When you really buckle down and grind through this process, you'll quickly learn where you can cut corners and save lots of render time, and where you are unwilling to compromise on render quality - and that's okay too! (I have one friend who gives me a hard time whenever I share how long some of my renders are, and I always want to say, "yes, but my renders look 500 times better than yours!").
  15. TP Presets.

    I am 99.9% certain you can only use Thinking Particles with C4D Studio.