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kkamin

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About kkamin

  • Rank
    Cafe Ronin

Profile Information

  • First Name
    Kevin
  • Last Name
    Kamin
  • C4D Version
    R18.048 Studio
  • Website URL
    www.studiogata.com
  • Location
    Minneapolis, MN

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  1. Is there a way to cast a shadow on a floor and have the shadow show but not the floor? I'm trying to use a background with a solid color material applied to it for a seamless look. Ha, nevermind, figured it out. In the compositing tag you can assign the floor to be part of the background object.
  2. kkamin

    Lighting Contest

    Sounds good. For #1 I just means, inside of photoshop you can't get a white paint brush and start making up highlights where there are none or remove things that were not able to be solved while inside of the 3D environment (clone stamping things out). It won't be an issue if you want to render out in passes and elect to strengthen or reduce your reflection pass for example. I'll be in touch. I plan to make this public next week. This should be fun to see what everyone comes up with.
  3. kkamin

    Lighting Contest

    I'll give an example. Left is obviously someone just shooting an image with whatever lighting happened to be around, the one on the right was shot by a photographer where I work. The one on the right has a strong vision for its look and feel, and technically every surface has a controlled lighting gradient sweeping cross it, what each material is made of is clear, everything is separating dimensionally, and the reflections and shadows are being carefully controlled. This is product photography, but shooting an environment is not much different. You're going to want to reveal texture through lighting. You're going to want to make sure things separate and that you create a sense of dimension. You want the light to bring focus on to what is appropriate, create visual balance and create mood. The photographers who will be judging will be looking at the lighting from a professional-level, commercial point of view.
  4. kkamin

    Lighting Contest

    I feel it's 100% artist driven. I work at a production studio. We start with a dark studio and it takes someone to first and foremost, have a vision, and then select lights, move them into place, set up modifiers, set up flags and scrims, etc. This all happens in real-time without any rendering. Most commercial photographers I know (and I work with amazing ones), still work incredibly hard and struggle at times to get the exact lighting they are envisioning and dealing with getting rid of hot spots, reflections, and shadows that are working counter to their vision. If you're able to light anything you want anyway you want, you should be a Hollywood DP making a million a movie (live action or animated films). In my opinion the render engine is just calculating the physics of the light. It's like a golf club. You can get better ones or faster ones for sure. But you need to be Tiger Woods using it, to consistently deliver beautiful results.
  5. Cineversity, LinkedIn Learning, Pluralsight, FX Phd, and School of Motion. All of these have courses that will take you on some kind of focused learning path. I find the Google searched tutorials good for one-off things I need to learn, but isn't the best way to build up larger skill sets. Also you don't need to know how to be a full-blown modeler to use Cinema 4D for motion graphics. You can get away with basic modeling and find a lot of things on stock sites. I head an animation and VFX team and hire a fair number of motion designer contractors. Over half cannot model. It's not a big deal in most cases. Good luck!
  6. kkamin

    Lighting Contest

    Cool, just gauging interest currently. Good questions: 1. Post work allowed if it's just adjusting tone and color. You won't be able to paint in highlights or shadows or do any image retouching like removing things in reflections, etc. 2. I'll ask that you describe the lighting set-up so after the students try to replicate, they can learn how it was done. 3. You can use any lighting tools you want 4. The scene is going to be fairly simple. This is meant for people to have fun with the challenge more than anything, and then check out what other people came up with.
  7. kkamin

    Lighting Contest

    It wouldn't matter what the renderer is. The materials can be tweaked, since there is an interplay with the lights and materials, but they need to basically not become a different material. So if there's a wood table, keep the general color and established wood grain pattern, but you can generate a displacement from an outside image or a procedural shader and do whatever you want with the rest of the channels.
  8. kkamin

    Lighting Contest

    What do people think about lighting a scene that I provide, and the wining entry wins a $25 Amazon gift card? It would be judged on how interesting/beautiful the lighting design is and how photo-realistic the scene looks. I would have five judges (3 experienced 3D artists and 2 experienced photographers) evaluate the work. Comments from the judges on the winner, runner up, and a random other entry would be published along with thumbnails of all the entries (names not published for the non-winners). The reason I would like to this, is that I am doing some teach outs and it would be cool for the students to have to try to match different lighting set-ups. Let me know if this sounds fun for anyone? Thank you!
  9. Everything is working great, CBR. If anyone else is wanting to do this here are some links: AO-Levr Technique: This is similar but lets you paint on a vertex map to place the damage exactly where you want it. Remember if you want the damage to eat into the model (rather than be a relief), set the displacement to a negative strength and then have your procedural noise or the bitmap that you are using go from middle gray to white instead of black to white.
  10. Ahhh, got it! Perfect. Thanks, and thanks for all the other tips.
  11. Thank you! What you said makes sense and once I get in tomorrow I'm sure it will be a great solution. What I'm not quite getting and what you explained, is that the alphas in C4D sort of act differently than in image editing programs and in After Effects. As you know, in those programs, the grayscale alpha controls the opacity of the image and allows composites with vary degrees of transparency to stack. There really isn't a way to tell a stacked material to be less opaque? I realize you mentioned the projector shader, but what if I need the reflectance or the diffusion to be different with this grunge layer? Thanks again for taking the time. You're preventing me from punching my computer. : D
  12. Hi, I'm trying to add some grunge to one of my objects, so I created a new material and loaded the grunge into my color channel and created a high contrast, black and white version to load into my alpha. I'm looking to overlay it on top at a faint opacity. When I try to make the alpha channel darker to reduce the opacity it doesn't do anything until it is full black, then it just turns the material off. There is no in between. I've toggled the 'mix texture' button but that doesn't help. Any guidance would be appreciated.
  13. Oh, I figured it out. Thanks again, Cerbera!
  14. Thank you! Great idea on the fracture method. What does 'Levr' stand for?
  15. Thanks Cerbera, What would be your go to solution for roughening up edges? Not just adding scratches but making the edges a little jagged at places?
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