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EAlexander

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EAlexander last won the day on January 23

EAlexander had the most liked content!

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76 Noble Beginner

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

Profile Information

  • First Name
    Evan
  • Last Name
    Alexander
  • C4D Ver
    R18.048 Broadcast
  • Location
    Princeton, NJ
  • Interests
    Rendering

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  1. EAlexander

    Ealexander Sketch Book

    More House work in Corona.
  2. EAlexander

    Ealexander Sketch Book

    02.11 Corona render. Fumigator from Turbosquid. Working on color toning in post.
  3. EAlexander

    Ealexander Sketch Book

    A few more from today's demo. Last one is the raw render.
  4. EAlexander

    Coral

    Yes, you can either use the node editor or build matials the tradional way now (similar to Octane), but the traditional way is very well intigrated into Cinema. Corona uses native procedural noise, Fresnel and other shaders.
  5. EAlexander

    Ealexander Sketch Book

    02.08 Post processing demo for a colleague. Photoshop and Magic Bullet Looks. Model by Keianhzo. Rendered in Corona.
  6. EAlexander

    Ealexander Sketch Book

    02.07.19 More testing with Marvelous Designer and wind.
  7. EAlexander

    Coral

    I agree with Everfresh - though don't rule out better CPU engines on older Mac hardware. Take a look at Corona. Easy interface - integrated much like native Cinema and will still run on a CPU and give you almost real time feedback with an IPR. Not to say that Octane and Redshift aren't awesome - they are, but CPU engines have evolved past Physical too.
  8. EAlexander

    Coral

    The two days on the hair was totally worth it!!
  9. EAlexander

    A Wrench

    Keep in mind - especially with Metal shaders - that the shader is only half the story. What is being reflected and the scene lighting drive the other half of the equation. So, for example, if you just have the wrench sitting on a plane and nothing else in the scene - there is a huge black void above your wrench and no architecture or objects to reflect. So you need an environment around the scene for the material to react to. You can cheat this with a HDRI image instead of having to model a room out, but even with aged and blurry materials this makes s huge difference. As does placement of light sources. One of the advantages of Redshift is how quickly you can play and tweak these kinds of things.
  10. EAlexander

    Ealexander Sketch Book

    01.28 Interior work.
  11. EAlexander

    Jedi Apprentice 2.0

    Sexy wire stuffs going on in here.
  12. EAlexander

    Ealexander Sketch Book

    Thanks! It's all done in Corona for Cinema with their material and lighting system. The proper way to do this wold be to unwrap all the car elements and create a nice template to take into Photoshop or Substance and work from there. I'm a bit of a hack and slash speed freak and usually have to get stuff out the door quickly - so this is just two stacked materials. One is the gloss black car paint - which in this case is just 99% grey (never pure black) and a high gloss. I think there is a slight noise bump there too just to break it up a bit. The flame paint is a duplicate of the black material, but with a fire JPEG in the diffuse channel. I just manually played with the projection on this in Cinema and ultimately ended up in Shrink Wrap mode and used the live texture adjustment tools to position and scale it. I knew I wanted it to look a bit stretched as if to imply motion blur, so the roughness of the mapping worked to my advantage here. Normally when I do this I have to go back in Photoshop and clean up some areas, but I got lucky with this one. If this was client work, I would do it the proper way :) Chip Foose once said the goal of a car sketch is to make it look like the car is moving, even when standing still. e.
  13. EAlexander

    Ealexander Sketch Book

    01.25.19 Crazy car paint day.
  14. EAlexander

    Ealexander Sketch Book

    01.24.19 1965 Porsche 356c. Model by CG Trader and textured by me.

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