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Everything posted by esmall

  1. Hi Ennebie, I maintain my company's internal render farm, and have just moved into using Redshift within the last year. Here's my findings: Licensing: Yes you will need 1 Redshift license for each computer rendering, and up to 8 GPU's per computer. Hardware: The biggest factor I kept in mind when trying to max out the GPU capacity for a Redshift renderer was the amount of PCIe lanes available on the CPU and motherboard. Also, note the number of PCIe slots on the motherboard, as this will dictate how many GPU's you can physically use. Without getting into a server type of setup, you'll be limited to probably 4 PCIe slots on a board at max, and at most 64 lanes on the CPU. The best setup I've found for a dedicated renderer is a Threadripper CPU (64 lanes) paired with a Gigabyte AUROS motherboard (4 slots, 2 at 16x, and 2 at 8x speed). Rule of thumb for RAM, you'll want to shoot for 2x the amount of DRAM on the GPU. EG 4 2070 supers = 32 gb of DRAM, so get 64gb of RAM. 4 2080ti would be 44gb of DRAM, but 64gb of RAM would still likely be adequate. PSU - bigger the better. I'm using a 1300 watt to power dual 2080ti hybrid cards, and a 1600 watt for 4 2070 supers. If you want 4 2080ti's you'll probaly need a second PSU. General electronics advice is to never exceed more than 80% of your power capacity. This will allot for any power spikes and not shutdown your system. Here's the GPU-centric build I put together for my studio: https://pcpartpicker.com/user/ericsmall24/saved/w4sykL - but with 4 GPUs, not just 2 And here's my workstation build: https://pcpartpicker.com/user/ericsmall24/saved/Wn89NG Data communication: We use Qube! render manager to manage our renders. We have 2 of those GPU rigs built, but add the onsite workstations to the farm after hours. All said and done, we end up with 7 computers capable of rendering Redshift (with ~60 additional for CPU rendering ). Qube! uses a central computer (called a supervisor) to tell all the rendering computers (workers) what to render. All c4d files, texture files, cached data, etc, must be accessible to the supervisor and workers, hosted on a separate server or NAS. Qube! is nice, but can be very complex if you aren't familiar with networked rendering. It also requires c4d commandline licenses. You can use Team Render, which comes bundled with C4D. I believe you get 1 Team Render server license, which you can use if you have multiple animators and need to juggle animations. If it is just you, then you don't necessarily need the server, you can do it all within C4D. Team Render is quite limited, and historically I found it to be unreliable, but I have not used it since 2016 or thereabouts. I am not sure how MAXON currently does the licensing for a computer that will be rendering only. One relatively obscure point of consideration: if you're going to connect lots of computers to the farm, Windows Home limits to 10 concurrent connections, Windows Pro limits to 20. Meaning if you're going to have more than 10 or 20 computers rendering, you'll need something other than Windows Home or Pro (respectively). Neither Linux nor Mac limit the number of concurrent connections. Rereading my post, this is looking like info-overload. Let me know if you have more questions. Eric
  2. PSA: 21.115 (this update) requires an update to your MAXON License Server (if you're using that licensing method - if you're simply logging in and letting MAXON handle the license distribution, disregard the rest of this post). IF you're running a MAXON License Server locally, on a Linux machine, note that after updating the MLS from 21.001 to 21.100 your licenses will likely be unavailable. You'll need to create a help ticket w MAXON to have your licenses released, and then manually re-assign them to the license server via the Web GUI. At this time, it is best to wait on the update to 21.115, create a ticket requesting licenses to be released. Once licenses have been released, proceed with the MAXON License Server update, then update the C4D application. Again, this only pertains to users with a MAXON License Server running locally on a Linux machine. It seems that all others are unaffected.
  3. try using 3D - Spherical gradient. This uses as a spherical gradient in world space. You can set the world space in the corresponding Start coordinates. Alternatively, you could try using a Proximal inside of a Distort Shader.
  4. isntead of xpresso, try just using a Selection Object. Select all of your SDS objects, then go to Select > Selection Filter > Create Selection Object. This creates a null object w an Object tab. The tab has a list of all your SDS objects that were selected at the time of creation, and a button for "Restore Selection." You can press the button to get all your object selected, then in the Basic tab, check/uncheck Enable. Alternatively, clicking the closed eyeball in the upper right of the obj mgr will open a window that lets you select objects, tags, layers, etc. Here you could right click the SDS object, and choose Select All, and perform the same enable/disable function as in the previous paragraph. Eric
  5. I'd try using a linear cloner of cubes touching edge to edge and apply a transparent material with refraction. Then I'd fiddle with the Fillet radius of the cube, and the refraction value of the material. see attached (the camera mapped image of an apple is NOT mine, it is used for reference, and was located using google image search). hope this helps. reededGlass.c4d
  6. The surface deformer calculates based on the object's UV layout. Your object's UV's are not properly laid out. To get the MoText to project, you'll have to either current state to object (to polygonal object), or do each letter separate. Since MoText is procedural, it does not have UVs. Because of this, I believe each letter is assigned the same UV space, so it will project, but all the letters are stack on top of each other. Looks like you are using 17. I saved this in 19. In case you can't open, I took a screen shot of the UVs and a screen shot of the viewport. Hope this helps project_test_UVs.c4d
  7. the potential issue with doing that is if your cube's position is animated, the cube's axis will still remain animated in that location, but the actual cube's location may differ. See attached: the axis of both cubes are animated in the same location, but the cube's are in different places. axisLocation.c4d
  8. It's hard to tell without a test file, or knowing what you're animating (figure? object? complicated? simple?), but most likely, no. Animated properties such as Position, Scale, or Rotation (PSR) is oriented on the object's axis. Changing the axis would result in altering the animation. One possible solution would be to create a null object, and set a keyframe in all PSR properties you have animated. In the timeline, copy the keyframes from the original object, and paste them to the null object (this copy/paste is done in the timeline's Edit menu). Now delete the keyframes from the original object, put the original object as a child of the null that just received the pasted keyframes. From there, you'll have the ability to adjust the original object's axis, tweak its position, etc. See the attached c4d file. animationTransferred.c4d
  9. It's hard to tell without a scene file, or seeing an image of what you're trying to model (it looks like a flange? Or cap of sorts?) But looking at your axis, it appears that your cloner is not in the center, or hub, from where you want the cloned objects evenly spaced. Try using a Radial Cloner centered at the middle of the circle (see screenshot with blue arrow), and adjust the start/end angle of the radial cloner.
  10. Echoing Ninjad's assessment of Lens Blur, it is a hotmess. If you really need it, go ahead and use it. Another downfall of it, it is a single core effect. This means your entire comp will only render w 1 core of your computer, regardless of how many cores you have. Even if this effect is applied to 10 frames of a 1000 frame render, all 1000 frame will only render w 1 core. If you can spare the extra money, invest in Frischluft's Lenscare plugin. It does a GREAT job of applying DoF. This plugin does a very convincing job of blurring edges of high contrast/large distance objects. But yes, to get truly accurate blurring, you'd need to apply it in 3d at render time. Unfortunately, this limits the flexibility in post. There's always a tradeoff.
  11. if you have it rigged to your liking, you'll want to select all rig components and any mesh you want to make symmetrical, and go to Character > Mirror. You'll prob need to fiddle w the settings and/or watch some tuts on how to properly use this tool, but this is what you want. A symmetry object will duplicate what you have on the other side, so you won't be able to animate each side independently. Mirror function in the Character menu will duplicate the actual object(s), tag(s), weighting, etc.
  12. hmm, not sure what's up on your end, but I got it to work with the 2 images you provided. See my comp and screen shot of effect settings, see if something looks different to you.
  13. Alternative to the Tracer (a mighty fine suggestion) an interesting but little known function in the timeline might help you (if your object is freely keyframed in space): Select your object in the Dope Sheet (not position track), go to Functions (in timeline menu), and select the command Position Track to Spline. This will do what its name suggests and make a spline based on the object origin's movement through space. This would leave you to hand animate (or setup some xpresso) to animate the end/start growth of the sweep nurb. but hey, at least it'd give you an exact spline based on the object's path through space!
  14. thanks for the confirmation. I emailed them on Mar 3 regarding the issue, sent files/screenshots, etc. And I just followed up this morning. I figure if I continually follow up with MAXON, 1 of the following 2 sayings will become relevant: - the squeaky wheel gets the grease - the tallest blade of grass gets clipped first I hope for the former!!
  15. Has anyone experienced this issue and/or found a solution? In R19, when using any form of multipass, I end up with additional RGB and Alpha passes. I render as PNG with a straight alpha, therefore I do not need either of these passes. If rendering a "Regular Image" only, these passes are not generated. If rendering any additional multipasses, these passes are created, despite not being added as passes. See attached screenshots: The picture viewer is showing the appropriate passes: Background, Alpha (this is always shown in pic viewer, but never saved as an actual file w PNG images), Object Buffers 1 & 2, and Depth. In the finder, you can see the actual images generated: Background/beauty image, obj buff 1/2, depth, but also there are the unwanted rgb and alpha images. Am I missing a setting somewhere to disable this pass generation? Or is this a bug? This issue is plaguing my entire studio, so it's not just me. And I have seen posts on other forums asking about solutions. I've attached a c4d file that demonstrates this. Thanks in advance. extraPasses.c4d
  16. I would use a Shader effector, then a material that uses a MoGraph Color Shader. In the attached file, I made a separate material and used the color shader in the alpha, so I could control colors in separate materials. But you could just as easily use a single material by defining the base cube color in the cloner itself, and the changing color in the Shader effector's Shading parameter, and put a MoGraph Color Shader in the color channel of the cube's material. The actual change in color is controlled by the width of the Shader falloff. cubeRotateColorChange - mograph.c4d
  17. how about a plain effector set to rotation mode? See attached. cubeRotate - mograph.c4d
  18. I think some clever modeling, either with some extrudes to give the appearance of plates that make up the lips, or separate/discrete geometry. Either way, I think the pose morph would be your friend here. See the attached files. One would be a setup using a continuous mesh, the other would be using separate geometry. Both setups are using the posemorph tag. robotMouth.c4d robotMouth 2.c4d
  19. To echo Cerbera's comment, I would approaching this as a mechanical rig. Look up some tutorials on this topic (search for robotic rig, mechanical rig, etc. Another suggestion: go to a hardware store and pickup an actual SOSS hinge in order to appreciate the intricacies of such a hinge. Being able to put hands on such a piece of hardware will reveal a lot of the fine details. Or at the very least, find a good video of a hinge in action, and watch it frame by frame, forwards and backwards. E
  20. Well I guess someone has to go first. I know this is posted early, but if someone copies my mesh, I'll take it as a compliment :-D Thank you Cafe Admin for putting on this challenge, and good luck to everyone!
  21. Glad to read about the deadline extension. I have my hook modeled, just need to make some final tweaks, then texture. but I had some deadlines tighten up on me randomly. :)
  22. I've come across a few scenarios where Vector Math would be handy, but I don't know much about the topic. Must have forgotten that bit of high school trigonometry class!
  23. I would gladly contribute for new knowledge! That polymer rig and python effector sound particularly interesting.
  24. I was about to type that I was fairly certain this isn't possible. But, I tried it, and to my surprise, it was possible! See the attached file. Create some User Data, set the data type to Integer, use the interface type Quicktab Radio button. In the Cycle Option text box, enter the values (no bullets in front): 0; Edit1; AnimateIn xpresso editor, on the Pose Morph Node input, find the Tag Properties > Mode. Connect this to the User Data output. Connect as many pose morph tags as you need to the user data. Hope this helps! Eric PM_EditAnimateToggle.c4d
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