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About Petematul

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    Cafe Ronin

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    20.059 Studio

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    Intel 3.2 GHz Xeon W

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  1. Thanks, guys. Much appreciated! CBR, why would I need to also render a smaller size format like JPEG? One library that has carried my work for years has never asked for that but I'm guessing that is something they do at their end since they are a premium "rights-managed" library and not a royalty-free micro-stock like Pond 5. Is this something I will need to do for the micro-stocks? I've never worked with the micro-stocks before so any help is appreciated.
  2. What is the best release codec for stills rendered out of C4D for stock sale at places like Pond 5 and iShutter, etc. I've heard TIFF, but should that be 8 bit or higher? Should it always include an alpha channel? Since they're stills, I would imagine anti-aliasing can remain at "geometry" rather than "best." As far as motion, I've been offering my work in ProRes 4444 set to best anti-aliasing and only include an alpha when there is am optional background to remove. In either case, I don't want to end up with crazy big files for the purists, when smaller files are perfectly acceptable to most -- so I never go out "Animation."
  3. One model source, albeit an older one, is the old View Point models which are now being marketed, in toto, by Digimation on CD. There are two collections, one called The Model Bank Library, and the other The Titanium Edition. Both are going for around $600 as a pair. Again, these are all older models but there are several thousand models and if you just used a few, it would probably be worth the money. https://digimation.com/
  4. Thanks! Appreciated! I'll look into those.
  5. Anyone have any recommendations for markerless facial mocap software? I'm trying to create a talking cartoon-style insect that I would create in C4D so it would be great if this can be integrated with C4D, if possible? I'm not sure if this is even possible or how to even approach this.
  6. Oh, as far as basing your decision on some tuts you have, I'm not sure how logical that is. Whenever I need to find something, I just go to Youtube and I usually find what I need, and when I don't, I come here to C4d Cafe -- some awesome help here. Oh, and look at all the tuts on Cineversity. They have them going back to well before R13, and I still find them useful. You don't see MAXON removing those old tuts and I assume it's because MAXON realizes, like me, they are still valid, even today. My 2 cents.
  7. If you had a good reason to delay R21 -- like you wanted to try R13 before investing in R21 then I think quite a bit of what you learn in R13 will carry over to R21 when/if you're ready to make the commitment. As an example I keep a log of tips/techniques that I started with R12 -- hundreds of tips, over 30 single-spaced pages of stuff -- and I'm amazed how well those tips hold up even to today. Sure I have to make some modifications along the way, but I've found that once you learn C4D, it forms a good foundation, regardless of the version you start with, unless it's like from the 90s or something. Keep in find that a common complaint from a lot of users is how few changes are made with each new version, that users are not getting their money's worth. So even though it's been ten years and eight versions, it hasn't really changed ALL that much. I've personally found that a lot of the changes that they come out with each year doesn't really apply all that much to what I do. That said, if you have access to a later version, then go for that.
  8. Good points, thanks, but no one has really seen a virus in this detail -- only fuzzy TEMs are available-- and this image is just an artist's guess and the colors and textures were added to distinguish one part of the virus from another. I want to use just one material -- a cheen (which emulates EM imagery) and it just looks better when the protein spikes are fused seamlessly rather than embedded.
  9. Yes, mo extrude is what I've used for pollen particles and viruses with elegant, uniform spikes, but the virus I'm trying to model now has spikes similar to the one in the attached image. I think the spikes, which are very irregular, have to be done separately and placed around the sphere. Thoughts?
  10. Thanks Cerbera, as usual. Yes, I'm messing with Boole now and it might just work since the objects don't really need to be animated. Actually, I do have R20, just too lazy to swivel my chair to my other computer where it is installed. So thanks for the tip on Volume Builder/Mesher. (Not sure how to update my version on C4d Cafe). Essentially I'm creating a virus which resembles a spiky sphere (kinda like an underwater mine). Doing extrusions work great, but I'm finding the spikes really need a lot more modeling than extrusions can deal with, so am now trying to model the spikes separately and join them to the sphere afterward. Not much of a file to upload at this point. Again, thanks mucho for your help!
  11. Is there any way to join two objects in C4d so there is no line between the two. For example, in the attached image I would like to join a tube to a sphere (left), so that it looks as though it were extruded from the sphere as shown on the right. Unfortunately I do not want to use an extrusion in this case and need the objects to be separate until joined. I've tried mesh conversions with no luck.
  12. Getting some very results in the approach I mentioned and I have to thank Cerbera who got me going in the right direction. Even though I was playing around with noise, layers and luminance, it was Cerbera who emphasized putting the noise "over the top" of the luminance map. That was a lot simpler than the approach I was taking messing with distortion shaders, and it works very nicely, even better than AE in my humble opinion. Bottom line, it can all be done in one channel: luminance. Set it up for layers and add animated noise (garnished to your satisfaction) to the top and, here's the key, set it to "overlay." I threw in some swirling clouds above all this on a separate sphere and it's all quite lovely. Reminds me of the last time I was on the Shuttle! No need for a color channel at all. A lot of uses for this effect, too, for anything you want to shimmer.
  13. Are you sure it doesn't happen in nature? I'm not entirely sure why you can't see the twinkling in that video, but I would imagine it's different when seen with the naked eye, If stars twinkle when you look through the atmosphere why wouldn't city lights twinkle when looking through the atmosphere in a different direction? City lights twinkle from jet aircraft and from the tops of mountains,why not from the shuttle or the ISS? But don't take my word for it. Here's a comment directly from astronaut Don Pettit: City lights, on the other hand, do twinkle. "From the space station we can see city lights when it's nighttime on the planet below," explains Pettit. "Shining upwards through the atmosphere, they twinkle like stars. They're beautiful." Regardless, as I learned in the film industry early on, everything is a cheat anyway.
  14. I want twinkling as if the lights were seen through atmospheric haze -- not the haze itself. It's a combination of distortion and the flickering in brightness of individual lights. So far I'm getting some success by playing an animated noise layer (set to overlay) over a luminance map. That's for the variation in brightness. As far as optical distortion I'm using the distort shader combined with animated noise. I'm open to other thoughts if someone has had success with other approaches. If I had to do it all over again I would probably do this in After Effects as a post effect, but it's too late to go back now.
  15. I'm looking for the best way to add a twinkling lights effect to an Earth-from-space night texture (see attached). The twinkling is to simulate atmospheric haze. I'm currently playing around with the distortion shader and noise shaders in various channels. A similar effect would be like creating heat waves or twinkling stars. Has anyone done anything like this? I've gotten decent results in After Effects using screen and luminance maps with animated noise, but would prefer a more direct you-see-what-you-get approach in C4D.
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