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DeCarlo

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DeCarlo last won the day on May 25

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    http://www.decarloanimation.com

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  • First Name
    Thomas
  • Last Name
    DeCarlo
  • C4D Ver
    R17.055 Studio
  • Location
    Bloomington, IN
  • Interests
    Screenwriting

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  1. The logic of Team Render is to assign blocks of frames to each computer, so that if one computer messes up, all the bad frames are in a single block. Obviously, it reassigns frames if one machine finishes it's block before the others, which will break those up further. If you have After Effects, you can drop the image sequence into a composition and a warning will automatically pop-up that lists out all the missing frames: 24-56, 80-192, etc. That's the fastest way to get a list of missing frames. You can queue all the missing frames using multiple render settings (each given an output with a missing frame range), then create a series of takes, each linked to a different render setting. It takes a little setup, but then you can just click "team render all takes" and it will render all your missed frames.
  2. DeCarlo

    About Pose Morph

    Sorry, I tried writing down this process in more depth, but I realized I didn't know how to identify a single clone instance through XPresso. That's the one piece of the process I'm not sure about and I couldn't immediately find the nodes necessary to do that.
  3. DeCarlo

    About Pose Morph

    It's certainly possible to apply a sound effector to a parameter of a dummy object, then use Xpresso to link that parameter to the strength of your pose morph. But that would link the overall volume of the sound wave to a single pose morph. If you're trying to do a quick and dirty open/close of the mouth, that would certainly work. I know that some 2D animation software can analyze audio and produce triggers for a fixed set of mouth shapes. In theory, you could create corresponding pose morphs in C4D and simply enter those cues as keyframes. That's how I did the mouth animation on my last film (the pose morphs for each mouth shape; I just scrubbed the audio while reading the text to hear the cues).
  4. You don't mention trying to open previous versions of any of the files, so I am going to assume you don't save incrementally or use auto-save. If you did, you could simply open the previous version of the file and all your XRef materials should be there. Then you're only reconciling the work you did since the last save. Here is my one glimmer of hope: if your XRef objects are using relative file paths, and you recently moved the project with your base materials, you could conceivably move the file back to where it thinks it should be, then when you open the file of the model, it will discover all the materials and load them properly. (This assumes that you didn't save over the file after the materials dropped, such that the saved version still retains the material references and is simply dropping them upon load because the reference isn't resolving.) Otherwise, you're probably SOL. I would have recommended against using an XRef to import and assign materials to an object. It is so easy to copy & paste a material to another project that you'd have to be making frequent updates to a complex material for it to seem worth it to me. Also, XRefs seem to drop often enough that incremental or auto-saving is absolutely necessary. I XRef characters, so when one drops, I lose all the animation I've done.
  5. Confirmed. I opened a new file, followed your directions, and crashed.
  6. DeCarlo

    Xpresso position between two objects

    That's cool! I hadn't noticed those nodes before. I'll have to keep those in mind.
  7. DeCarlo

    Keyframes in takes

    There are ways to manually adjust the overrides, which I don't use too much; I normally just turn on "Auto Take" and make the changes I want. For example, it seems like you can make a child take, then simply drag and drop a parameter onto the take (more efficient than creating a rogue keyframe). In this example, I animated Position X in the Main Take, then just dragged the parameter into the child take and it added an override category for it. You can do other things, like drag and Ctrl+drop an override onto another take to copy it. You can also delete individual overrides from this menu. Also, to your question, once I added the Position.X parameter to the child take, it also appeared as an override group for the main take. So, yes! Once you've created that parameter as an override on the child, you can then copy and paste it from the parent. I'm not sure how efficient this process will be in achieving your goals. Creating multiple animations over the same time in your project seems really odd to me. If you were able to animate linearly (animation 1 is frames 0-100, animation 2 is 101-200, etc.), you can use render settings to isolate them in each take: set render setting 1 to frames 0-100, then assign that render setting to the take. That's how I manage continuity across consecutive shots: I animate in one timeline and use takes to switch cameras and render the separate shots over their respective frames.
  8. DeCarlo

    Xpresso position between two objects

    These are some options that come to mind: A) In Xpresso, you can add a math node to add 6 to the global Y position before sending it to object 2. B) You could skip Xpresso and just use a "Constraint" tag and PSR object 2 to object 1, with a 6cm offset in the Y axis. C) You could put object 2 in a null, link the Xpresso to the null, then move the object 6cm (because it can now move independently) D) If your objects are in the same coordinate plane, you could use Position instead of Global Position and use Freeze Transformation to store that +6 offset.
  9. DeCarlo

    Rigging Test

    Looks good! I like using the circle splines up the spine, but otherwise I use spheres or squares with a display tag that forces them to display as wireframe (so that I can see through them when they're visible, but they're still really easy to select in the viewport). But honestly, once I discovered the visual selector tag, I don't even bother making my controllers visible in the viewport. You just import a .png with a render of your character, add boxes or other clickable overlays, and link each to the appropriate controller. It's another window on my screen, but it allows me to select a controller even when not visible in the viewport.
  10. DeCarlo

    Standard Workflow questions

    There's really only three reasons to include other software in your pipeline: 1) you work faster in that software for a specific piece of the pipeline; 2) you collaborate with others who use that software; C) that software provides something you need that C4D doesn't. Obviously, this is going to depend entirely on your skills and experience, your work environment, and your specific needs. Personally, I do everything in C4D. I've looked at other software, but the cost, the learning curve, and the inconvenience of transferring projects through a multi-software pipeline, is a non-starter for me.
  11. DeCarlo

    Keyframes in takes

    That's how the take system is supposed to work; it functions as cascading overrides. If you animate an object on the main take, the object will animate the exact same in every child take. The moment that you add a keyframe to the child take, it copies any keyframes from the parent, and now that object's animation exists as an override on the child take. The original keyframes would remain on the parent take and continue to run on any other child takes that don't have an override. Personally, I really like that you can't see keyframes from other takes. In my workflow, I only animate on the main take, and use child takes to render specific cameras or layers. Making the keyframes disappear makes it harder for me to accidentally change a keyframe on only one child take - which is a huge mess for me since each of my takes are intended to animate exactly the same! Long story short, if you're wanting to keyframe multiple animations of the same object using takes, your only option is going to force that override (by adding a keyframe), and then maintain separate timelines for that object for each take. It would quickly get unmanageable if you were allowed to override settings on individual keyframes, or add/remove individual keyframes - but only in specific takes.
  12. Hey, everyone! At long last, I have released my award-winning short film, The Encounter, produced in Cinema4D. (I utilized an array of stock models, and basically did everything else myself.) You can purchase a digital download of the film for $3 on my new, online shop: http://decarloanimation.com/shop/. If you like The Encounter, please consider supporting my next film, Summer Days, on IndieGoGo. Also for just $3, you can get an advance copy of the film as soon as it is done - before the festival circuit and at least a year before it is released to the public. There are a bunch of other cool perks as well, including a Limited Edition Blu-ray of both films. (I'd have to look up international shipping for anyone outside the U.S. that would like anything physical, like the Blu-ray or a poster.) Thomas
  13. DeCarlo

    FilmGrind Logo

    You've got a good start. The G grinding in to the M is cute, and the grungy steel floor is a great physical aesthetic, but the text basically floats in space with no interaction with the environment. When the letters started to "fall" into the shot, I expected them to hit the floor with a thud and some dynamic simulation jostle. Instead they just floated gently into place, which clashed with the aesthetic you had started. I also expected some light interaction between the letters and the steel floor, even if just some ambient occlusion. Some shadows cast by the "RIND" from the sparks could also add great realism to it, but I understand wanting to keep a clean background. If you wanted to go all out, I would even add a little camera shake when the letters hit the floor or when the two words smash together.
  14. DeCarlo

    Rendering Point Cloud

    I don't really understand what your end goal is, but you can easily clone a small blue sphere onto each point in your "cube" object (a.k.a point cloud) so that you get a blue dot at each point. First, create a Cloner object from the MoGraph menu. Then create a small sphere and make it a child of the cloner. Then, in the cloner's properties, select "Mode = Object" and a new "object" field will appear. Drag & Drop your "cube" object into that object field. Below, distribution should be set to "vertex" (a.k.a. points). (I'm on an older version, so the menus may not be identical.)
  15. DeCarlo

    Video of Shot Composited

    That's the plan for my next project. I've never used an external renderer and I haven't had time to learn how to use one, let alone the money to license one or upgrade my hardware (I'm running a 660ti and my render farm is designed for CPU).

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