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Vizn

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Vizn last won the day on April 5 2019

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About Vizn

  • Rank
    Cafe Samurai

Profile Information

  • First Name
    Casey
  • Last Name
    Hawley
  • Location
    Phoenix-AZ, USA
  • Website URL
    http://caseyhawley.wixsite.com/vzm3d/interiors

Cinema 4D Information

  • C4D Version
    18.057 Studio

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  1. Normally, no, this in not a good workflow. However, it may be useful for renderings of very soft detail, like clouds. The problem with upscaling resolution is most noticeable in finer details because it will soften sharper lines and edges. However, if the content is mostly soft already, the upscale effect is less noticeable, thus you can get away with it easier. In architectural renderings, it's generally okay to composite a slightly lower resolution sky into the background (if necessary) and scale it up to fit the frame because skies are typically full of super soft detail and color gradients. Plus, it can play into depth perception, since the object of the rendering is usually in the foreground, meaning the distant background would normally appear a little soft/blurry anyway. The overall rule of thumb with any upscaling is you don't want to push it too far. If you start to see the edges of pixels (pixelization) at 100% scale on your monitor you've probably gone too far. This will also depend on the desired viewing distance, so I recommend researching resolution vs. display size vs. viewing distance for more info.
  2. With C4D I have always found setting texture path to a large centralized folder of textures (especially one on a network server) just makes the ball spin and spin and spin. Could be that I'm impatient to see if that long wait is just for the initial setting. Otherwise, I've simply gotten used to just clicking No when the question pops up. It's not that big a deal once you've done it a few dozen times. It just becomes part of the normal workflow and only takes a second each time. How many textures are you using that it would mean a significant loss of time? If you ever need to collect a file with all the linked textures, simply 'Save Project With Assets' from the File menu. This converts all tex paths to local, meaning project specific, as if you said Yes to the pop-up every time, and puts it all into a zip archive. From the Texture Manager, you can globalize/localize any paths, as well as re-link or replace textures.
  3. A few things to try: Set the subdivisions of the portal lights high, like 128. If they are large, set it even higher..256, 384, 512, etc. The bigger a light object is, the more subdivs it needs. Try setting them to "Simple Portal Light" type. And last, if you place them outside behind glass, you could try moving them inside just in front of glass. Another trick with light outside of glass is to set the glass material to not cast shadows (in refraction parameters). Yes, in reality glass can cast a faint shadow. Personally, I don't think it's worth it most of the time when rendering interiors, especially in a scene with tons of clear windows. If your glass is colored, tinted, or dirty it makes sense to keep the shadow casting on, but it's up to you as the artist to manipulate things to achieve the look you want.
  4. Pump up the Subdivisions in the Direct Illumination Parameters of the material. Try something high, like 256. You might also bump up the Light Cache subdivisions to 1500. And if that doesn't help, you might lower the AA Min Shading Rate to 6, as well as lowering the DMC Sampler Noise Threshold to .002 or .001.
  5. Have you considered using the Take system? You can turn objects on/off from view/render for specific cameras.
  6. I exist in the darker/brutal realms of Metal from old to new, with hints of Synth/Electronic and Industrial. Here's my Bandcamp collection, which is mostly newer stuff: https://bandcamp.com/dreamingtiger However, since that is not for everyone, I really enjoy movie scores as well. Some of my favorites are Basil Poledouris' Conan soundtracks, as well as John Carpenter's Escape From New York. Here is one of John Carpenter's Anthologies: https://johncarpentermusic.bandcamp.com/album/anthology-movie-themes-1974-1998
  7. There are a number of ways to do this, but in this instance the simplest might be: Open the Layer Manager (from the menu bar: Windows-->Layer Manager; or shortcut Shift+F4) Create all the layers and name them. Next, add all the materials. Then, select groups of materials by type and drag to the appropriate layer.
  8. Two ways I know to organize materials: 1) Add them by type to a layer, then name the layer 'Wood', etc or 2) Add a Null into the scene and apply all of the wood materials to it. Name the Null 'Wood'. Repeat for other material types.
  9. There is an easy way of doing dimension based texture projection. Set the projection to Cubic, then all you need to do is go into Texture Mode and Enable Axis (ref pic below). Now, you can position the gizmo precisely using snap and set the specific dimension using the Scale property in the Coordinate Manager. One important thing to remember: Set the dimension to HALF of what you want. So, if you wanted to map a texture meant to be 48mm, you set it to 24. Don't know why, it's just how it works in C4D. I struggled with this coming from Max, too.
  10. Ref: Just ran into this again, but there was no solution in the archived post. The problem of the viewport labels and default cameras appearing mixed up is because of the "Locked Workplane" (Shift-X). Changing to Planar Workplane fixed it for me. You can also access it at the bottom of the default toolbar palette on the left:
  11. Tiling the noise shader makes it seamless, but it doesn't make a repeating pattern because it is procedurally generated. For that you will need to use a height map (texture) crafted to be seamless, which will repeat.
  12. NAS work great for mixed OS networks. If you need the transfer rates between all devices to be super fast, make sure the network links between all devices (including router) support up to gigabit speeds (10/100/1000BaseT) and link them together with Cat6 network cables.
  13. Vizn

    Grid Help!

    The grid did show up for UVW Mapping in older versions. I just confirmed it shows up in R18, but it does not show in R20 and the Position and Scale tools do not manipulate the projection like they did in older versions. However, it has always been possible to use the Texture Tag properties to get the same effect of scaling and moving the UVW Mapping directly.
  14. As an Arch-Vis specialist, I can attest that finding a pre-existing model of this specific chair or that specific light fixture is a complete shot in the dark. Most often, I just hunker down and model what we need. If something is too complex to model in a timely manner, we find something similar that can be quickly modified, or simply adopted as a replacement. We actually go the manufacturers first to see if they have models. This approach has actually been getting better as more and more of these manufacturers put models right on their website, or can at least provide schematic drawings that help me model them more quickly. So we very rarely purchase furniture or fixture assets. Things we tend to purchase more often are scene filler/accessories and plants/landscaping, which are plentiful in current 3D shops. We typically do interior renderings. However, we get the odd exterior job here and there and every time I'm relegated to using a handful of car/vehicle assets based on 20 year old manufactured designs. I recently looked around for some updated sets, but the biggest challenge for us is finding C4D models with VRay materials. I know C4D isn't the industry standard for Arch-Vis, so we tend to use the exchange formats from purchased assets and fix up the materials ourselves. This approach is a huge chore when it comes to vehicles that are typically quite detailed.
  15. The 'Create Caps' option snagged me a lot too when I was learning. Luckily, you can avoid it if you use the Move tool + CMD/CTRL with any faces selected in poly mode. This is situational. When used on a closed volume, this method will always produce an extrusion without those inner cap polys. If used on flat polys, it will produce an open volume (no backface), so in that situation the Extrude tool would be used if you wanted the backface capped automatically. Happy extruding!
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