everfresh

my user name is everfresh, not cafe logo designer ;)

why not just run a current state to object command for the stitches at frame 0 to make the stitches polygon geometry too, and then use a surface deformer? this will give you the least headaches and a very precise results. if you keep your stitches setup you can make changes to it later on in case the client requires it and just run the current state to object command again and replace the new stitches geo with the previous one.

you can get rid of the jitter by upping the angular damping a little and the linear damping by a bigger value, like 30... of course that alters the behaviour, but those values are also keyframeable, so you could start the sim with lower numbers and increase them over time to make the bits settle.

depends on the flower, how it's "constructed"... if you have clearly separated petals you might be able to fake it with some bend deformers and some scaling. if the petals are interlocking much (like a rose for instance) it get's more tricky. really depends on the flower what's the best way to approach it. if it's more complex i'd probably generate the closed state based on the full bloomed state, make pose morphs and use a morph deformer to animate that with some (probably spherical) fall-off.

corona is definitely a nice renderer, but in case you missed the news, MAXON/redshift announced they're going to have redshift ported to metal by the end of the year. looking forward to be able to use redshift on a mac without having to fire up my egpu every time and also to finally be able to upgrade my systems to mojave.

you don't really need to reskin if you add in a couple of loops around the mouth. one or two extra loops should be enough. all you'd have to do is do a little weighting correction on the newly created vertices and redo your pose morphs if you already did some. also adjust your uvs to get rid of some remaining stretching. as for the deformation problem: i assume you want the arm not to be that flush with the body and have it first stick out more at the shoulder? if so, you can play with the depth settings of your first ik handle (select your spline ik tag, and in the attributes window click on the handles tab, there's a depth setting to each handle which defines the length of the (unvisible) bezier handles). up that number for the first one a little, it should make the arm stick out a little more. if that's not enough you can also play with the weights a little. if that's still not sufficient, you'd have to reposition your joints a little.

that's again not helping you with your problem... take a look at the model in lines mode and you will see that you again have overlaps.

how did you connect it? with a boole again? you should get familiar with c4ds polygon modelling tools, best to watch a couple of beginner modelling tutorials, then you will understand how i did it.

well, like i expected, you didn't connect the mesh, all you did was creating even more overlaps. by connecting i mean not just visually, i really mean making it a continuous mesh. i attached a file for clarifiaction what connected actually means. but again, why don't you use volumes instead? connected_vs_unconnected.c4d

@AlexisB my guess would be you probably haven't connected it properly. can you attach the new file, so i can take a look?

the problem is your character. it has overlapping non connected meshes. you can see pretty clearly where the problem areas are if you uncheck "high quality" in you boole objects attributes. so it does subtract the character correctly, but the areas that have overlapping geometry get added in again. it's not a bug or a limitation, it's expected logical behaviour. to fix this you'd have to change your character mesh, connect the overlapping parts properly. but since you have r20, you could also simply just use volumes.

it's working as expected. it's flipped, but you can easily change that by rotating the axis of your ornament mesh. maybe you should try to explain what you expect it to look like. as an alternative there's a free plugin called magic projector by nitroman. https://nitro4d.com/product/magic-projector/ btw, you should check "regular grid" on you extrude to avoid those shading artifacts.

just to entertain you guys a little (especially @Cerbera), vector was referring to that model here. i needed a model of a muscular toon figure in a speedo for a quick visual for a client, and the budget didn't allow to create one from scratch. so i went to TS to look for something to buy and i did find a model that was very close to what i was looking for. there was a very low res wireframe render of it, and at a quick glance it looked like it was properly modelled in quads. did cost 10 bucks, so i bought it. when i opened it i was faced with the worst mess of a model i've ever seen, it basically features every modelling mistake there is. and the more time i spent cleaning it up, the more curiosities it revealed. i have to admit, it was pretty entertaining, so i don't even regret spending 10 bucks on it, made me laugh pretty hard a couple of times, most movies can't deliver that for double the price when i go to the cinema ;) what puzzled me the most is why that guy interrupted the edgeflow so often, and mostly in places where there is really no need at all for it. have fun watching the video. the password is "theworstmodel". (didn't wanna make that vid public on my vimeo, some people might think it was me who modelled it) :D and i actually did use it in the end, and the client was happy, the client doesn't even know what the word topology means in the context of 3D. https://gyazo.com/a7528a22395e99e233f630951174e435

:D i knew i would trigger you with this. but i agree, if you're hired as a modeller by a studio, you should deliver a proper model, no doubt. thought that was pretty clear from what i was saying.

i think i know the model you're talking about :D what you and jay tend to miss in your argumentation: unless you work for a studio or another freelancer who needs to process the model further, the client is usually not going to see the topology at all. and if the rendered result looks identical, the client is under the impression he just ate a 5 star meal, when in fact he ate an industrial ready-meal. the thing is, the ready meal is much cheaper to produce, and if the client doesn't taste the difference anyways, why bother? my clients always come back, and i'm feeding them turds all day, if we wanna stay with the analogies here. ;) when i model something, i also model everything quads usually. especially when it comes to organic shapes. for hard surface objects, well sometimes it's just faster to simply extrude an illustrator shape or even boole something (if it's not a hero model). also for props i often just buy stuff from turbosquid for a couple of dollars, and the topo is often more than crappy. but it allows me to get things done fast. another example: if you do product visualisation jobs, most of the time you get handed CAD files, after converting them you are faced with a mess of ngons, unconnected geo, triangles, you name it. some edges probably won't be bevelled. but hey, there are a couple of tricks, we have a pretty versatile bevel deformer, bevel shading solutions and so on. so you can make that model ready to render in like an hour. retopo of some of the products i'm usually handling (it's mostly audio and professional lighting equipment, so really complex shapes and a lot of individual parts) it would take like a week to model. the client just wants a pretty render. and the client certainly doesn't want to pay for a week of modelling. so your "religion" shouldn't be quads, it should always be efficiency. whatever gets the job done the quickest while keeping the end result the same, you should choose. nowadays that's the only way you can be successful as a freelancer. and while ngons and tris are awful to look at, i love the fact that they are there.

no problem, you're welcome.

those are as always great! i hope to be able to find the time to explore at least some of them... i'm particularly interested in the dorito effect, since i was wondering for quite some time now how and if that's possible with c4d... but opening your file i don't fully understand what's going on, nor is the behaviour what i would expect it to be. i was hoping the joints would actually follow the deformation by the point morph, but it seems like the joints are just always at the state of 100% strength of the morph. their display generated by the fracture object follows it, but not the joints themselves. how would that help me now when i want to make a facial rig for instance, where i want the joints (actually the controllers) actually follow the surface deformed by a point morph? i've tried something with clamp constraints in the past, clamp a null with the controller parented to it to the surface, but i'm always having a hard time getting clamp controls in surface mode stable enough to be usable in a character rig.

tick off "weld" on your connect object.

i would stay away from dynamics all together. just rig the tongue with spline IK and animate it by hand. parent your spline IK handles to each other so that you get an FK behaviour, then it's easy to get a nice undulating motion by offsetting the keyframes down the chain.

i bet this machine could have been at least 1 k cheaper if they would have made a version with lesser gpu slots and ram slots. not everyone needs the possibility for 8 gpus and 1.5tb of ram (which is ridiculous, btw). but i'm pretty confident it is a beast of a machine, and the only thing that made me consider switching to pc was because of gpu rendering. but my guess was that it can't be that much longer until redshift and octane are ported to metal, so i stuck with my high sierra + egpu setup, which works fine, but isn't a way to go for me long term. so except for the price i'm pretty happy with the MP from what i've seen, once it's out i will probably look into reviews and pricing, take a deep breath and think hard about getting one :D

maybe if we all put our finances together we can get you that 1k monitor stand

i guess macs are back in business as it seems...

Tapping into the amazing performance of the new Mac Pro, we're excited to develop Redshift for Metal, and we're working with Apple to bring an optimized version to the Mac Pro for the first time by the end of the year. We're also actively developing Metal support for Cinema 4D, which will provide our Mac users with accelerated workflows for the most complex content creation. The new Mac Pro graphics architecture is incredibly powerful and is the best system to run Cinema 4D.' - David McGavran, CEO, MAXON

ideally you will want to have as much clean loops flowing around the mouth as possible, shifting any poles as much as you can to the back. that way you can get the widest possible variety of clean mouth poses... with rigging you will need to get a bit inventive, since the arms are the same height as the mouth is. so basically his mouth belongs to his chest. as initial pose for the mouth i recommend a neutral slightly open pose.

thanks for sharing... the problem i have with bundles like that is that you almost never have use for more than a couple in that bundle. most times when i'm in need of textures im in need of a very specific one. so i actually prefer to buy them one by one when i need them. but looking at their single texture pricing i think i prefer other sources, like poliigon or textures.com, which are much cheaper. but the quality is really superb i have to admit, definitely gonna bookmark it...