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About chrisjones

  • Birthday May 16

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  • C4D Ver
    R20.026 Studio
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    London UK
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    Cinema 4D
  1. Mesh Boolean is really cool for multiple booleans on hard surface models. Kind of like the Volume Builder tool in the sense you can quickly build up complex models. Like any boolean, it's hideous on curved surfaces. The fact the objects within the heirarchy have tags that have variables is really cool.
  2. @Rectro Thanks sooooo much for taking the time to craft a well thought out response, I really appreciate that. I will check out your fan art walkthrough later to get a general overview of the approach you take. And it's cool that there's a very good Z Brush artist who's brain I can pick on here too! I wish to utilise the application on a few things I have coming up. You know that moment where you become aware of a particular application, and you haven't quite figured out yet how it will become a part of you armoury? I was exactly like this a number of years ago when I was wading through Andrew Kramer's After Effect tutorials on Video Copilot, and there were a number of tutorials that started to introduce the viewer to importing 3d objects, that then progressed onto a tutorial that actually made one to import. I had heard of Cinema 4D but hadn't the faintest idea exactly what it could be used for. And then I discovered Behance, and studied what people were making on there and after finally getting Cinema, and after a number of years, I get it. At the moment, with Z Brush, I know I will prefer to sculpt my surfaces, make maps of the surface to then use for my models. Right now I kind of don't quite get it, I'm just waiting for the penny to drop. Of the three – Cinema / Z Brush / Substance Painter – Z Brush is by far the least accessible in terms of UI and procedure. Like I mentioned, I am going to use Z Brush to define the leather portions of the ear cups on the headphones. I think something as straightforward as this – simple base model, really generic topology etc – shouldn't pose to omanuy problems and also it will give me a gentle introduction to making the mesh a tool in Z Brush, utilising the subtool principles etc, and exporting and re-importing into Cinema. Thanks once agin for your response, I'm sure I'll tap you up again in the future!
  3. Hey guys, Hope you are all well. Apologies if this is blasphemous on a Cinema forum, but do any of you guys use Z Brush? I am modelling a set of headphones, and I fancy trying to create the soft ear cup and headband parts in Cinema as basic models then use these simple shapes for my first foray into Z Brush, which I plan on getting on trial to do so. I've got a few tutorial vids etc but always helps to have real humans giving real world advice. Perhaps my main priority would be to have the genral gist of the workflow explained from an experience standpoint. I'm guessing I do whatever sculpting in Z Brush then import the mesh back into Cinema, but I don't know if I then just bake the normals and use those, or retopologise. Just a general noob question really! Thanks for your time Chris
  4. @zeden thanks for the recommendation. Have you used it at all?
  5. Thanks guys. I often discover little things that make me wonder if they are useful to assit with the modelling side of 3D, but I guess unless everybody is utilising these external tools then best to just persevere with Cinema's tools. For what it's worth, I have been plugging away for so long now at just modelling I actually feel I am getting somewhere at last. It takes so long, it's easy to desire a magic formula to make things easier. That said, I found I only got really schooled once I saw Make It Look Good 11 by Toby Pitman for Motionworks.
  6. Hi All, I have just discovered Fusion 360, and downloaded a trial. I wondered if anyone on here used it to create decent block-outs to use as a start point for modelling in Cinema? or even well crafted meshes? it seems like it could be really useful to create hard surface stuff. I have experimented with some organic meshes, saved them as Step files and imported them into Cinema, then used the polygon pen to retopo the object. I know I could do much of that in Cinema, but it seems using a program that doesn't encourage me to continually refine like Cinema naturally would is in a way quite useful.
  7. @everfresh Thanks, I had a good play with the method and quickly realised it is a far more controllable alternative to soft selection. I like it, and glad I've happened upon the technique so cheers for that!
  8. @everfresh interesting approach to the concave, I'm not au fait with using falloffs for that kind of effect. I would have assumed soft selection would be the best way to attempt that. Your method – is that a direct alternative to the soft selection method, and if it is would you recommend that? Thanks. @Bolos – kudos for attempting this in modelling, great practice!
  9. Re that, I find in R20 using this method of clone mode in the slide tool has some strange occurences, whereby sometimes upon activation it will use a really extreme offset, like in the 100's, and it's almost impossible to rein it back in manually, so I have to then undo, click the clone option, and manually key in a figure that's more to what I was after. Thus defeating the object of the quick-key method…
  10. While I understand the desire to turn everything AI assisted, what good is that for the immediate future? why even bother learning anything today if AI gets it's grubby little fingers on everything? what's the point of learning edge flow today if I know AI will do everything for me in the future?



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