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muhchris

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About muhchris

  • Rank
    C4D Cafe Junior

Profile Information

  • First Name
    Tim
  • Last Name
    Reid
  • Location
    123

Cinema 4D Information

  • C4D Version
    S22

Hardware Information

  • CPU/GPU
    i7-3770 - GTX1060

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  1. I want to thank all of you in this thread, who have given me some type of input, or direction. Since posting, I have done quite a bit of research into this topic, and have found that it appears that, Substance Painter is indeed the modern de facto standard for doing exactly what I was asking about. However, being the crème de la crème comes with a price, in the form of training. Albeit, there are a plethora of training videos scattered across the internet dealing with Substance Painter, sadly the majority of those videos are at the Intermediate to Advanced level, even when their title states, Beginner, or Fundamental. Especially the training videos found right on Allegorithmic's Substance website. Nice videos, however very fast paced, and still more towards the Advanced stages. Having said, It looks like i will be posting more than my fare share of questions regarding the "marital relationship" between Cinema 4D, and Substance Painter, right here in, "Textures & UVs" in the near future. Once again, thank you everyone.
  2. Forgive me as I attempt to purvey the details of my question, as to structure the question in the most concise manner. We will start at the very beginning. As seen in the attached picture, within Cinema 4D, and created solely for the sake of this discussion, I create a simple object, and unwrap it. Next, in my personal pipeline, I will "Create UV Mesh Layer", and save the Texture out as a .PSD. Next, I open the .PSD within Photoshop to apply my Textures to the UV Layer. Herein begins my question. Simply creating a few new layers and dragging, and stretching textures into place where they belong on the UV, is not the problem. My lack of understanding is as follows. Ultimately, this model, and its UV, are going to end up inside Unity. I need to understand how to apply a number of multiple Texture Maps, (ie Diffuse, Height, AO, Normal), inside of Photoshop, while stretching, and aligning them to the UV. One single Texture is no problem, drag it, get it into shape etc, no problem, but let's say for every face of my simple object I need/want to not only have the Diffuse, but the Normal also. Both maps would have to be, "stuck" together throughout the placing, stretching, and resizing phase, or they will end up out of sync with one another. So that again, ultimately, when I drag the finished UV, to my object within Unity, the object will automatically be UV mapped, with all of the Texture Maps correctly aligned. I fully understand that Unity has it's own way of adding Texture Maps to objects, however, that is only going to work if you are dealing with an object that did not need to be UV'ed, flat objects such as a terrain, or a plane, or a Cube, however that will not work with a single object that needed to be UV'ed in the first place, such as my object, in which I purposefully raised the center of the top up, just so it wouldn't be a simple Cube. One may say that this question is better suited for a Photoshop forum, but I don't agree, given the approach of my question. Within a forum of this caliber, CG related scenarios are going to be more in sync with what I am attempting to do, as what I am attempting to do is almost a mainstream procedure in UV mapping, versus something that someone would/could help me with within a Bitmap Graphics based forum. I can only hope that I am explaining my scenario correctly, and/or perhaps there is a more efficient way of doing this, thank you for your time.
  3. So inside Cinema 4D I create a basic primitive Cube. I then hit CTRL+i, and the Information Box tells me that the primitive Cube has 6 Polygons. Next, I save the Cube, as an FBX, to the Desktop inside of Windows 10. I then use Windows 10's 3D Viewer program, and that program tells me that the Cube, has 12 Triangles. Going on the premise that a Triangle is a Polygon, why is there a discrepancy in the two statistics?
  4. CBR, Thank you for the extensive insight, exactly what I was looking for, worked like a charm.
  5. Trying to create a large "Cube" building where my characters will converse. I create six simple Cubes resized to 5x150x200, (size irrelevant for this scenario), and place them all together into the shape of a Cube. Next, when I go into the finished structure, I can almost always see beams of light sneaking in along seam lines here and there. So, I hop back out of the structure, and start zooming in, way in to align the walls as close as humanly possible, but, no matter how many times you keep zooming in further, you keep seeing that you need to nudge, and slide just a little bit more to make the, "perfect" seal. Is there a more, "politically correct" way to achieve the perfect seal I seek? At first I would say, "snapping" is the ideal answer for what I am looking for, however, after researching "snapping" in Cinema 4D, I find that not many folks are advocates of Cinema 4D's "snapping" capabilities. How should I be "sealing" those six panels perfectly?
  6. Thanks go to both of you, and I beg your forgiveness for my ignorance, it has been quite some time since I have needed to work with the, Front/Back options, and the knowledge had totally slipped my mind. That being said, Deck, that is EXACTLY what I was looking for.
  7. Quite frankly what I am trying to create, is an extremely immersive experience, by where I will be taking the camera through the tunnel, almost "VR"ish in nature, thus the need for the unique, exotic shape of the tunnel, which I found easier to create by simply drawing out the shape I want/need, and having a Circular Spline form the tunnel that follows that line. Being immersive, I need to be able to design "within" this uniquely shaped tunnel, thus why I asked if there were anyway to do so. The Primitive Tube does in fact work, and I agree with you fully about the adjustable thickness, but one cannot get the Primitive Tube as uniquely curved, designed, and sculptured as a freehand drawn Spline line. Shame, the beautiful tunnels I can create via the Spline method, and I see now, there is nothing I can do with them, for the purpose that I seek. Thank you for your input Cerbera.
  8. Simple scenario, extruded Sweep Nurb using a Circle spline and a straight line Spline. End product, long, stiff pipe. Next, I remove both Start, and End caps from the Sweep. Now I can see through the pipe, end to end. Question is, if i create a simple red colored material, how can I apply that red material to only the INSIDE of this pipe? If I drag the red material to the inside, Cinema 4D colors the entire pipe red, inside and out. Appreciate your time, thank you.
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