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Everything posted by Rectro

  1. Hey guys. Iv been running into compositing issues as of recent due to 32bit workflows and Photoshop CS5 not being full 32bit editing. I was forced to look out there to see if there was any alternative, and while I ignored this software in the past I had another look at Serifs Affinity Photo. After a few hours I came to realise that its much closer to Photoshop than I had thought only its allows fully 32bit editing. I own all Serif legacy products, so Im very happy to see them produce this software. So far iv been able to do everything I would normally do in Photoshop. Iv still got some testing to do but so far so good. Im compositing many Vray multiplass layers and doing some creative post work with them. I wondered what you use for compositing stills, and would you consider a alternative to the industry leading Photoshop leaving a subscription for a one off fee of £48?
  2. Bookmarks in Timeline Broken?

    Looking at the manual, and at the video it looks like it never was able to save the saved selections of keys which I agree is a shame, would be nice to have the option. Dan
  3. Affinity Photo The New Photoshop?

    Very strange, hard to work out if its lagit, or how buying from there works? Dan
  4. Affinity Photo The New Photoshop?

    I have no doubt they will get there going by their legacy products I own. They know how to make software user friendly, I wish they had kept going on with Movie Plus and Web plus, iv not found as easy to use apps out there. Dan
  5. Hi Without having the scene file its very hard to give a direct answer. It seems like you have tried most things. I dont know much about space suits but the helmet that should not move at all right? If thats the case you have a seperate joint for the helmet, if that joint gets moved then the suit will overlap. If you have tried selecting the edges of the neck line of the body and tried using weight manager to smooth it, not weight paint it, then the next step may be to use a collision deformer for the helmet to collide with the body, at least this way it should work by it self. Also what iv found to save me time is use delta mush plugin. Its almost like the smooth deformer, but has more control, and can be a magic worker. Weighting should be able to sort it out. You can always try to remove all weighting and apply a auto weight from weight manager just to test to see if the weighting is the issue, of course try this on a copy of your scene. Dan
  6. Affinity Photo The New Photoshop?

    Thanks for your input. Il check out Photoline. Funny enough iv latched onto Natron this week as I was looking to composite some animation image sequences, and had enough of trying to do it in a image stack in Photoshop. Only issue Im having with Natron is trying to find how to composite a beauty pass from vray layers, Im not familiar with Nuke, but it seems close by all accounts. Thanks, Dan
  7. Hi Yes you can, but id assume to know a little about rigging. Your first need to view the full rig by selecting the character object, go to display tab and under managers choose full Hierarchy. Select the neck bone, and use the joint tool to draw another bone. Make a spline circle place it same as head 1 then constraint that head bone2 to the spline circle. This is a simple set up. To make it part of the character tool your have to dig deeper. Your also need to work out what kind of controler and where to place it for neck2. By design the character rig may not be ideal to start with, for instance you may have wanted a single neck bone then have two necks come off that. The hair will follow character as long as you have rooted the hair to the polygons. I put all my hair tags into a Null and the null in the root null of the rig if im going to have more than one character in same scene. Iv attatched a small scene showing the order I put things for hair, just press the cache button for the hair. Dan ball_character.zip
  8. I didnt recommend zeroing out, but to subtract weighting from all hand joints while having the rest of the arms verts selected this leaves all weighting in place other than verts that are wrongly weighted to any hand joints. Glad you sorted it. Dan
  9. Thats good then. Thats why its easier to select all hand bones when subtracting verts from another area. Dan
  10. Check in the weight manager in the weights tab to see if there are any zero weighting shown as red, this can also cause issue, but normaly its when the whole object gets moved . Your best not to use the brush but use the weight manager where you can select all the verts that cover the whole area of trouble, and hit subtract from selected button. If you also select the arm bone that should be 100% weighted to that area check these verts are weighted. Dan
  11. Can you post the file, are you still using r18? Dan
  12. You have some verts from the arm that are assigned to one of the hand bones. Select all verts for the arm not the hand, and with the hand bones selected from the weight manager (shift + double click on weight tag) then subtract mode at 100% from selected verts. Dan
  13. Hi thought id post this. Nice to see C4D getting some attention for Character Animation once in a while. http://www.cgsociety.org/news/article/3646/brazil-based-petit-fabrik-explains-how-they-used-c4d-to-animate-the-david-and-goliath-story Dan
  14. Affinity Photo The New Photoshop?

    In Photoshop I use Puppet warp much in the same way as Mari Warp, to manipulate textures that are to be projected onto either UV template, or in Mari case onto the 3d model via a texture bake. With Mari warp its rather special in that the mesh resolution is built around a selection of choice, and the mesh cage resolution can be taken up or down at will without loosing any previous deformation. It seems to be much less destructive retaining a good registration from the original details which is much harder to get in Photoshop. Iv havent use the camera deformer much in C4D but dont think it works on 2D textures before they are placed on the geometry? Dan
  15. Affinity Photo The New Photoshop?

    For general editing there are a few nice programs out there, but Im talking about compositing multi passes, stacking up filters, masks, adjustment layers, using patch tool, Dodge, Burn, Pupet Warp, extracting high pass data, as well as general colour grading, and levelling work. Iv not done much in animation but know AE deals with multipass layers, not sure about hitfilm, Vegus? Dan
  16. Affinity Photo The New Photoshop?

    Last time I looked for an alternative years ago there was nothing, gimp as a general editor was fine but I use specific tools not just for post work but for patching down textures overlaying Uv templates. I cant afford Mari so Photoshop was my go to app for high quality textures, Il see how well patching down a 16k xyz image works, and if that does the same job Il get it. Iv been looking for an Adobe Production Bundle of CS6 second hand as I wanted AE, but iv not found a lagit one on Ebay yet, all liquidated software with no licence ownership. Dan
  17. Weird supposedly "pro" workflow ???

    Thanks, iv done nothing major career wise, but feel iv had some opportunities to have had some great tutors who do work professionally in game and movie industry that have all helped me in one way or another. You seem keen to learn, humble, and enthusiastic so your do well I feel. Dan
  18. Weird supposedly "pro" workflow ???

    This IMHO is the danger of Zbrush for new artists, it lends to make one want to learn the Zbrush way first then polygon modeling, it should be the other way around. Retopology is going to be a nightmare if your not familiar with the correct topology thats been learn by polygon modelling. Zbrush teaches you how to evaluate volume in 3d space fast, but its not as easy to get the volume from just pure 3d modeling which is why many turn first to box modeling, then as time goes on poly by poly modeling. One thing that wil aid you is some basic anatomy, this applies to both realistic and stylized characters, but sets some bounderies in place that you can turn to when things dont look right. Iv been side tracked a few times now, but had been making some tutorials on the very things iv been talking about, I just need to get into gear and finnish them. I dont have the long list of credentials as some have, but I know I can produce the best quality with the best out there, and teach it. Dan
  19. Weird supposedly "pro" workflow ???

    About the tutor, always worth checking, he seems to have credible history. http://jayedwards.cgsociety.org/about Have been doing CG related work for 19 years. Currently working on some cool stuff at Framestore after returning from ILM Prior to ILM, I was at Framestore for nearly a year working on Jupiter Ascending and also Guardians of the Galaxy. In October 2011I joined Reliance, London as a Senior Modeller. Built the main 'cg assets' for GI JOE 2 and recently finished on the Harrison Ford film, Enders Game. I went on to become the lead modeler for them on the show Black Sails. Toward the end of 2010 and the majority of 2011, I was the Head of Dept/Lead Modeler at Windmill Lane VFX in Dublin, Ireland, working on the Luc Besson Produced movie, Lockout (AKA MS1 maximum Security) In 2009/10 I was at Cinesite in London, working as a character modeller on the feature film Marmaduke and also an Environment modeler on Pixars John Carter of Mars. In 2009 I was Lead Modeler and Creature Concept Artist at Redvision in London working on Discovery Channels, Into the Universe with Stephen Hawking.
  20. Weird supposedly "pro" workflow ???

    No problem. Iv found that once you get past the basics your stop buying tutorials so much, and start to make your own rules. As long as the results are good, and it does what is needed then all is good. You will even find some things Pros do that would make you think wow! I would never do that. Its good to check, and good to be fussy to a certain point, so when you show off your models with the wire shots your proud of what you have done. You dont have to stick 100% to a tutorial, if you think you have a better way go with your way. Dan
  21. Weird supposedly "pro" workflow ???

    Yes you can model anything as one complete object but your edge loops must be directed perfectly where the seam is between one material group and another, posible but not often done in most cases unless the parts must look to be as one object like a drill handle that has a rubber grip, one object with handle that splits the materials off. Look at Don character in your C4D assets, he is made from many parts (see image) In the case of Batman, they are completely two separate parts so the skin part can be separate, yet very close with a few edge loops tucking inside the mask. You can quite easily retopo the whole face with the mask, but your be forced to use more polygons for the mask as the face needs more for animation, where as you could get away with less polygons for the masked area. Its one of thoes things that you tend to make a choice from a project to project stance. The priorities of a project such as what type of facial animation what expressions this could change the way the edge flow is for instance for the forehead, even eyes can have a broken loop to get a crease at the corner. At the end of the day someone has to come up with the best ways they can get the job done, and others either find the same solution or make their own up. Its a mix between learning other peoples workflows, and find some of your own perfered methods. There is not always a right and wrong way, while in some areas there is a totaly wrong way and normaly produces bad results. Dan
  22. Weird supposedly "pro" workflow ???

    If you make a full head mask that fits over a full head, then you have a mesh inside a mesh. When you only keep the visible polygons between two objects then only have a few loops of one mesh inside another mesh and thus save on poly count. Both the mask and face get 100% weighted to the Head bone, they both move together. Dan
  23. Weird supposedly "pro" workflow ???

    In essence the two parts are of a completely different materials, one is flesh the other is costume material, they are separate objects. To build a whole head and a head mask over that would be using more polygons than needed, so there is nothing wrong with this process. I would have made sure the face tissue at the low polygon level was inside the mask if there was a lower polygon level rather than move loads of verts, but that depends on how one likes to work. When it comes to rigging, the face and mask are weighted to the same joints. I suspect he will have both the mask and face as one mesh, but they dont have to be welded. You can if you like make it one whole object as long as you have a clean loop between the mask and face to then assign two different materials, but thats more work. When it comes to Uvs the face will more than likly be its own Uv island, and the mask on its own. When you model a character that has clothes on that will not be changed, you make the head, arms, or just hands separate objects, and push the limbs inside the clothes. Again no point in making a body if its hidden by clothes unless you need to change the clothes. Proxy bodys are used to build clothes on, but removed later so just the clothes get rigged. There is a good video on Gnomon Workshop that shows a pro walk through of a game character. Dan
  24. any way to loop a simulation?

    Getting a seamless loop from a simulation is near impossible if each loop is random simulation. Depends on what the deformation is as to if there is a clear pattern that develops. Without seeing the scene it would be hard to guess. There is no such deformer called noise, need much more info. You can use the motion clip system which will loop a clip, or even blend multiple clips together to then be baked back into keyframe animation, or PLA. Dan
  25. Something wrong with area light

    Also to add, if you click and hold left mouse button on the light icon in the UI your get a pop up box showing you all light types including Area Light. Your need to turn shadows on as by default they are off. Dan