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everfresh

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everfresh last won the day on January 14

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About everfresh

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    Cafe Logo Designer

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  • First Name
    sebastian
  • Last Name
    pfeifer
  • C4D Ver
    R20.026 Studio
  • Operating System
    OSX
  • Location
    Budingen, Germany
  • Interests
    everything cg related, cartoons and music

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  1. put everything under ONE null and rotate that. i explained where the issue comes from.
  2. just put everything into a null and rotate that instead. the issue comes from when you select all 3 components and rotate them, the center is off. therefor the relationship between the goal and the IK changes, which results in wobbling.
  3. if you're using GI you don't need AO, GI does the occlusion by itself. your render looks like a render because the lighting isn't very good and the materials lack realism. your metal is a bit too shiny, you could introduce a little roughness and also break it up with tiny scratches and slight variation in reflectivity and roughness with a grunge map.. even the newest product has been touched (somebody has unpacked it, right?), has dust on it, this all results in variation of the surface. touch a chrome button with your finger, even when your hands are freakishly clean, your fingers will leave a print on the surface, making it slightly more dull in that area. slide a product like that out of it's box and the tiny specs of dust between the products surface and the packagings surface will result in microscopic scratches. details like these you don't really notice consciously (if applied subtile enough), but it makes a huge difference. i also do a lot product renders of audio products, and i never apply a perfectly clean material to anything. everything has variation in real life, there's no such thing as a perfectly even surface. and btw, the keyshot render also looks like a render, because it lacks those details. keyshot is made that everything looks quite good out of the box, making renders in a full package like c4d is a bit more complicated and requires some deeper knowledge.
  4. it would be truly awesome if we could bind a mesh to a spline, and i wished for that feature for years, but unfortunately we can't in cinema. you can make a set of joints follow a spline with spline IK, and bind the joints to the mesh, afaik that's the closest thing we got.
  5. to be able to modify this to make it fit to your own character you'd have to understand everything about it. so that tutorial would be probably a week long or so.... unless @kangddan makes it a character object preset ;)
  6. no, i was just talking how you managed to solve certain things in general... one question: is there a way to control the direction of the limb bends? https://gyazo.com/38640ee667620c20f8e18135a663e122 ps: so much control certainly comes at a price. 10 fps viewport performance is quite slow for an unsubdivided character...
  7. awesome, gonna give it a whirl later this evening, really curious how you managed to solve some things there.
  8. yes, your "block guy" can be subdivided and look smooth if you activate sub-poly-displacement in your materials displacement channel setting. but only at rendertime, not in the viewport. but for this one i don't see any reason to do so, since he just needs to be smooth rather than have a lot of granular detail. so the sds object is the right choice here. you usually just use spd when you need certain details, like the scales of the crocodile here: https://www.artstation.com/artwork/nkJL4 then take a look at the unsubdivided mesh attached. all the detail of geometry in the final render are just through maps in the displacement channel.
  9. 1. why do you need a highres one? characters for animation should always be as low poly as possible. if you need more resolution, just stuff it in an sds object. and if you need more details, bake a map from a high poly sculpt and use it as sub-poly-displacement. 2. you can bind the eyes for instance to a separate set of joints which are children or constrained to the head joint. for the tail you would parent your tail joints to the pelvis. 3. see 2 4. i've learned everything i know about rigging in c4d from the cineversity ones, so i highly recommend watching them all. based on your questions i doubt you watched them yet ;) hope that helps. rigging is a long journey, but don't get discouraged, once you understand the basics it's actually quite fun.
  10. awesome!!! i'll have to check that at some point in the future. at what colour depth did you bake? 8, 16 or 32 bit? edit: have you also tried how it behaves with more complex displacement that's not going only in one direction? with overlaps and stuff?
  11. making a whole head with dreadlocks with dynamic ik chains will most likely result in frustration. in my experience you will never be able to get rid of the jittering dynamic ik chains produce on collision. i'd rather suggest doing it with actual hair. match your hair and guide count (you can simply set hair "as guides"), in the hairs generate tab you can either set it to generate splines (which you can then also sweep) or generate geometry directly... hair is much more easy to control and also much more versatile in its behaviour than ik dynamics are.
  12. the problem is more the other way around. height maps work perfectly (with a little fiddling of the min max values in rs displacement node), but vector displacement doesn't work. at least not with maps generated from c4d sculpts. i don't know about z-brush though. but height maps generated from c4d sculpts do work. can you check if vector maps baked from z-brush work as expected?
  13. if your sculpt is not only using one direction you have to bake out an rgb tangent map, a simple b&w height map is just capable of displacing your geo in one direction only. the problem is that the rgb maps c4d spits out is going to give you correct results with the c4d renderers, but not with redshift. i posted that issue on the redshift forums, adrian also tried it with arnold and said it gives him the same issues as within redshift. my guess is that tangent maps within c4d work somewhat different and thus give faulty results in 3rd party engines. because if you load example maps from the web into redshift, they work as expected. maps baked from c4d sculpts just seem to store the information somewhat differently. i'm almost sure you could fix those issues with some colour correction to the maps, but that would be a little bit of a blind flight if you don't know exactly what your doing.
  14. maybe the customer just doesn't like the peach fuzz because there isn't enough of it and it's too thick? if you make it way more and much thinner you'll get a more homogeneous look.
  15. if it needs to be one continuous mesh it's going to be doomed to explode, because your pose morhps will freak out as soon as the point count changes.

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