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DeCarlo

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DeCarlo last won the day on May 25 2018

DeCarlo had the most liked content!

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79 Noble Beginner

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  • Website URL
    http://www.decarloanimation.com

Profile Information

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

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  1. Yes, 50 and 55mm are also considered "standard." The longer focal length provides a shallower DoF and the narrower field of view, and both are preferred for a lot of photography. And, of course, live-action shooting styles have changed over time.
  2. It's actually not that confusing when you look at the numbers that drive the field of view (Focal length: 36mm. Sensor Size: 36mm). So just imagine the video, except the drawing is from the lens to the sensor, rather than lens to subject. Therefore, 36mm from the front of the lens to the sensor, and the sensor is 36mm wide. It's just a weird product of the math that this equates to the non-round, 53.13 degrees. I'm not sure where 36 comes from, but 35mm is the sensor size (aka film gate) of traditional 35mm film., and the 35mm lens is the most commonly used lens with 35mm film. (It seems that the corresponding focal length and sensor size produces the field of view that most closely resembles what the human eye sees).
  3. Modeling and materials are my least favorite parts of the animation process, so I skip them whenever possible. Knowing HOW to do those is crucial because: 1) stock models often have errors, inefficiencies, or require modifications to fit what you're doing, so don't ever expect to just buy a model and drop it into your scene. 2) it's nearly impossible to fill a project with just stock models, so you'll almost always need to supplement with original models to have everything you need. My first major short film was made almost entirely with stock models. It kept costs low and allowed me to move quickly into animation. Now that I'm working on a feature film, I'm hiring modelers to create original models for all the characters and primary models, and will limit stock models to the background. This also means we'll have exclusive copyright over all the main models in the film - which is extremely important for the value of the film and any derivative properties.
  4. DeCarlo

    New Mac pro

    Haha! After seeing some of the estimates for what the system would cost, I have abandoned all interest. I thought this would be more on par with past iterations of Mac Pros, which were pricy, but not orders of magnitude above a PC. @Bolos's quote is perfect. If you really need the absolute best money can buy, you can't find a more streamlined option. Anything below that is just glitzy, overpriced facade for your illusions of grandeur.
  5. DeCarlo

    New Mac pro

    This is fascinating! If MAXON was trying to build a closer partnership with C4D and Macs, it puts the acquisition of Redshift into a whole new light. I, for one, am seriously considering switching back to a Mac after looking through the details of the new Mac Pro (I first started using C4D on a 2007 Mac Pro - which I still have). With Apple's support of Blackmagic's eGPUs, there's the option to further extend the GPUs of a single system and completely bypass the need for using a render farm even for large-scale productions. Especially if MAXON is trying to optimize C4D and Redshift on Macs.
  6. You could simply keyframe the blink to be closed for 2 frames. The first would render 100% closed and the second would blur into frame 3.
  7. It seems like a bug. Single-clicking the vertical line that resizes the object list (the remainder given to tags) causes it to collapse to zero. The intended behavior, it seems, is for a double-click on the line to auto expand so you can see all the object names. Double-click again and it goes back to your original setting. Strangely enough, once you drag the line after an accidental collapse, the behavior stops.
  8. I can see this being powered by XPresso: using the frame number to switch all your character controllers to their previous position only on even frames. This would effectively hold the pose for two frames, without having to keyframe to each frame. The brute force option is to bake the animation, delete all the even frames, then convert all the keyframes to step. For fixed camera shots, you can simply render your character in a separate layer at 12 fps, then composite into 24fps renders of everything else.
  9. @Frokito I was having that exact same issue with a project I brought from R17 to R20. It looks like you can simply open your project in R20, copy the objects, then paste into a new R20 project file and it will start auto-weighting properly.
  10. It worked fine for me and I didn't see anything that would throw up red flags. FYI, you can lower the samples on the area shadows of your Physical Sky and it will render significantly faster.
  11. I have successfully rebuilt the character in R20 and gotten all the way to weight mapping without the weight tool losing its mind! I moved the model as safely as I could from R17 to R20: deleted everything except the mesh, including the weight tags; opened in R20; copied and pasted the mesh into a new file; then began building the character object. It was a very uneventful end to a frustrating 24 hours and a significant amount of work lost. Learning experience, I suppose.
  12. @everfresh Yes, I believe the file I uploaded was started in R17, though I did try to build one from scratch and it did the same thing. I will try one more time starting in R20 and see if I can identify when the weights break. @Fastbee sorry, I did post two entirely different problems happening to the same rig in two different versions of C4D. A solution to either problem would have given me a way out of this weird mess without having to redo a ton of work.
  13. Here is a stripped-down project file where auto-normalize isn't working in the weight mapping of R20. Perhaps this is the situation where it is most likely I've messed up something simple. https://drive.google.com/file/d/1Pv9qpfZQwk_ci32PFlmBd9KKHMrAFXAF/view?usp=sharing
  14. I was taking the advanced biped template by @everfresh for a spin and ran into two really bewildering roadblocks. Using R17, I followed his tutorial all the way to positioning facial controllers for the different pose morphs. The moment that I switched from one controller to the next, the first would pop back into its original place; I couldn't get the controller to stick. The pose is unlocked and set to 100% strength. No keyframes are set. I've checked a few other settings on objects elsewhere that could cause something like this and I'm out of ideas. I eventually got this to work in a really strange way: I was checking various settings and when I switched "edit" mode on the pose morph to Disabled and back to Selected, it worked! I reverted to my saved version and tried it again with consistent success. I thought this was a bug and something got stuck and just needed a nudge to work properly. A day later, after more weight cleanup on my model, I'm back to the same issue, and switching the edit mode does nothing. Also, I opened the model in R20 Demo and the poses worked immediately. I decided to stick with R20 until I discovered the rig causes weight mapping's auto normalize to break! Seriously. I created a quick rig in R20 and auto normalize works. I created a new model from EverFresh's template, rushed through to the weighting process, and it worked just fine. So I ditched all my work in R17, rebuilt the character in R20, but this time when I got to weight mapping, auto-normalize had stopped working again! I both situations, I feel like there's some checkbox I'm missing. Any ideas to address either issue would be greatly appreciated: the immovable controllers in the pose morph with R17; or the broken auto-normalizing of the weight mapping in R20. I just need some means to move forward. For reference, 9:41 is the spot in the video where the pose morphs are being set:
  15. I wanted to share my sci-fi short with the community here; aside from a few stock models, it was produced entirely in C4D. (You can only view the film in the embedded player in this post.) It is currently for sale on my website. I've got two more shorts coming out in 2019 and I plan to raise the funds to begin production of a feature-length version of "The Encounter" in 2020. I hope you enjoy! To preempt some common questions: It took 12 months to produce: 7 months of pre-production and 5 months to animate and render. It took an additional 4 months to re-render the whole thing in 4K with some higher-quality render settings and compositing techniques. It was rendered entirely in C4D's standard and physical render engines. It's now in its second year of festivals, with one screening scheduled for 12/20 in Tokyo. It was my first project rigging and animating a character.

YOUTUBE CHANNEL:

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