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Mike A

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Everything posted by Mike A

  1. I'm not sure how you;d fix it in AE, but 'film offset' is essentially the same as 'lens shift' - as in a 'tilt and shift lens' - in real photography. That might at least give you something to Google...
  2. Thanks guys - Cerbera's grid, rather than linear mode best solved the issue. It was a more complex set up than described above, but the same principle. I still think it would be handy to have negative offset values available under Linear mode.
  3. A simple question for the cloner experts: I have a cube under a cloner. Linear mode, with a per-step x value offset - let's say 100cm. What I want is for the overall set of clones to remain centered on the cloner, no matter what the clone count is. Effectively if I have 10 clones, I want the offset value to be negative 5. If the clone count was 6 the offset to be negative 3.. etc. Seems strange to me that the 'offset' value can only be a positive - not negative. What's the simplest way to set this up?
  4. It's tempting to think the grass is always greener on the other side, so it's always interesting to read pros and cons like this. I've never used Max, but have thought about trying it more than once in the past as my work is much more 'visualisation' than 'mograph'.
  5. I have a .max format model I need to get into C4D. Is anyone able to help me out? Any assistance gratefully received.
  6. @hobbyistThanks - that's useful info and sounds like a sensible analysis from the Hardware Unboxed guy. I'm not a great Jayz fan - but that was the only video I'd previously seen on the issue! Moral of the story: don't always believe what you read on the interwebs : )
  7. @DasFrodo Ah, I didn't know that - I thought the capacitor type was the issue. Any reference to that uodated info? I'd like to read / view it. Total speculation on my part... But could they be covering this up a little? If it was the capacitor, then my guess is that replacing that physically would not be a simple swap - different pins etc, so would require redesign, new tooling etc = very expensive. Jayz did say, in that first video report, that this could be worked around using a driver update to reduce max boost clocks. So I wonder if 'its just a driver issue' might be an excuse?
  8. Looking a which partners used an expensive chip or two, and those who were the cheapskates might be an indication of their respective product quality in general - so perhaps useful info : )
  9. @contrafibbularities Thanks for the heads up on 'Primitive Sketch'. I managed to find a copy online - and have it up and running in R21 via the insydium Bridge plugin I would pay good money to have that further developed and maintained! Anyone in touch with the author?
  10. Keith, I'm going to sign off this thread - DECK is doing a great job : ) One final parting tip : ) Re your single guy above. Where should he be positioned vertically in the frame? As I think DECK mentioned previously, typically the camera will be at eye level to the subject - so lets presume that's the case here. Now imagine there is a clone of that guy in the distance - with his back right up against your backdrop. Let's say your virtual studio ceiling is at 2.5m. That guys eyeline would be around 2/3rds the way up the wall. And that's a great indication of where you tal
  11. This is much my preferred style of creation TBH. When I first came to C4D my all previous modelling softwares worked like this. I was quite shocked with C4D's limited 'drop it in the middile of the scene and move it' approach.
  12. Ah, a man with a similar level of athleticism to my own! : )
  13. ...to fully appreciate this : ) Some great character work. Rendered in Redshift. https://pintsizechat.com/episode-water/
  14. What Cerbera said: There are a number of ways you can do what you want with workplanes, but a good method - that works with primitives as well as poly objects is: Set a shortcut for "Locked workplane". Enable "Interactive workplane" - bottom icon menu, left hand tolbar. Now run your mouse over your object (don't click). Your workplane should change to match the normal of each poly. Lock workplane. Add your new object Unlock workplane To return to the standard workplane, select "Align workplane to Y" from the icon menu above.
  15. This should keep you busy : ) https://libraryofjuggling.com/
  16. As an occasional juggler myself*... I particularly like frames 0 - 100 : ) Next step: clubs - or fire torches : ) + I can highly recommend juggling for back health. Plenty of exercise in picking up the drops
  17. Keith, Maybe the attached file will help a little? It just demo's what DECK and myself have been saying about camera to subject distance (perspective) as apposed to focal length (shorter camera focal length = a wider angle of view). There are three 'cam01' cameras each with a different focal length: 24mm - roughly the focal length of your shot 50mm - typically considered a 'normal' angle of view 16mm - a very wide angle view The important thing to note is that all cam 01 cameras are in the same location - so the perspective is the same. Notice
  18. Agreed totally. I always have to do a bit of manual tweaking. It not uncommon for me to have to try and reverse enginner the perspective on a shot in order to add some CG element to it. It's never straight forward. I've typically got one or two key measurements of the real object - probably similar to yourself. I think on the lens correction it depends very much on the quality of the camera / lens combo. Cheap lens - loads of distortion, and a wide angle shot and camera matching can be next to impossible. I have found 'lens correction' helpful on a few occassions when I've had sho
  19. Sorry DECK: I posted at the same time.
  20. Keith I'll try and summarise what you need to do: 1. Get the best camera match you can - don't worry about the virtual studio background for the moment. 2. Once you've got the camera in the right location - disable the camera calibrtation tag and adjust the camera co-ordinates manually so that the camera isn't banked. Ie: B = 0. 3. Go to your camera settings and make the focal length shorter - so you can see as much of your studio background as you want. Now, I suspect you are going to have an issue here. Because the original footage looks to be shot failrly
  21. One final tip: I just noted that your photographer said camera was at eye level. I typically use 163cm as average male eye level. So your camera should be around that - assuming your set is real scale. It is tricky work - particularly with so little usable reference in the scene. Here's one I did a little while ago that was also a pain to match... https://www.behance.net/gallery/94715543/Leonardo-M346-FA-3D-CGI-and-retouch
  22. Keith, Assuming you are aiming for a wider shot - showing more of the virtual studio - the main issue you have here is not really the finer matters of green screen work, it's the mis-matched perspective. When you achieve a good camera match I suspect you're going to find your C4D camera is MUCH nearer your virtual set background than you maybe intended. You'll be looking at one small patch of it - as DECK shows above. Look at the first rendering you've displayed in this thread. The camera in the scene - in real world terms - might be 25' away from the subjects. The camera to sub
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