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RenderStorm Farm

Vizn

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  • Website URL
    http://caseyhawley.wixsite.com/vzm3d/interiors

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  • First Name
    Casey
  • Last Name
    Hawley
  • C4D Ver
    R17.055 Studio
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    Phoenix-AZ, USA
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    3D - Games (Witcher Series, Diablo Series, Hearthstone, HoTS, Half-Life Series, DOOM Series) - Movies/TV (Animation, Dark Comedy, Sci-Fi, Fantasy, Anime, Documentary) - Music (eclectic - from extreme styles to reggae/dub to classical) - Semi-Healthy Lifestyle ;-) - Collector (Comics, Concert Posters, Music, Game Art)

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  1. Randomize Scale of Instances

    Just wanted to offer another technique for full control of instance placement specifically using a Cloner. Create a plane with 1x1 segments and make editable. Delete 3 of the 4 points. Set the Cloner to Object mode, turn on Render Instances, and set the plane object as the target with Distribution to Vertex. Attach a Random Effector for a bit of rotation and scale shifting. Now you can select the single vertex of the plane object and Cmd/Ctrl drag it to duplicate for another clone! I like this method because it keeps my object list less cluttered and I find it easier than selecting instances in order to move them because in point mode you can't accidentally select a different object. When working with lots of landscaping, it's a godsend.
  2. For the Engineers Among Us

    Cool. I'm not an engineer, though I can't help thinking these gizmos would be more impressive if they were real rather than 3D.
  3. Reflect Image on Glass - VRay

    How you do this will depend on how the scene is set up. Reflection environment override could work, but I imagine it would be tedious to get it positioned correctly, plus your vase would have to be exposed to the 'void', which is to say it's not surrounded on all sides by walls or other objects that would block the reflection environment. If the vase is in an interior setting, then you can use a dome light, set only to include the vase if it shouldn't appear anywhere else, but again controlling size/position will be tedious. If your scene is more like a studio product shot setting you could probably get away with applying the image on a plane object and position it out of camera to reflect as you want.
  4. Looks like the label is applied directly to the bottle mesh as a decal using alpha? Nice. The question then becomes, is the bottle mesh under an SDS? If so, try choosing 'Boundary' for the Subdivide UVs option.
  5. Search for Materials

    The only way I know to find a material in a big list is to select the material tag applied on the object, then in the Attributes click the little arrow at the far right side of the 'Material' box and select 'Show in Manager'. The found material will have a thin orange highlight around it, which can be difficult to spot sometimes, but at least it's there. Selecting objects themselves does the same thing, but the 'show' function scrolls the list to where it is.
  6. Without seeing your model, it's hard to say. However, you might have some luck with this technique: In Edges mode select the sub-div edge loops (use Shift to add to the selection until you have them all selected); hold Control and click Points mode (this selects all points on the edge loops); go back to Edge mode and press U~Z to melt the edges; go back to Points mode again and press delete.
  7. Welcome @ErickM I started using C4D about 2 years ago now. I quickly found the Cafe to be a deep-well of experience and fountain of knowledge. Couldn't have learned as quickly as I did without the help of the fine folks here!
  8. Definitely on the right path. I would say that you should use an area light at the window, not a luminous material on a plane. I think the noise is being caused by that luminous window plane not providing enough light samples at render time.
  9. I want to second the advice of @DeCarlo. As an amateur it's easy to want to have all of the detail that real world objects and scenes would have, and to use higher than necessary settings in order to capture those details in the rendered pixels. The challenge then is to learn which modeling/lighting/material details matter and which don't in any given circumstance, and how they impact the rendering engine. This is the art of optimization. Understanding how to optimize early will enable you to take better advantage of the processing power of any hardware later on.
  10. For pure cost-to-power ratio, that CyberPower PC would be a great workstation. You can always hide it under the desk so it doesn't clash with the Macs in the office. ;) NVIDIA graphics are generally preferred in the 3D rendering industry, especially if you're interested in real-time/interactive/GPU rendering. Generally speaking, high CPU clock speed and more cores is where you will see the most benefit for rendering times. For Cinema, viewport speed and scene size/complexity is reliant on GPU, if I'm not mistaken, so 11gb on the 1080 should keep things very smooth. System ram is where you will see the benefit of running multiple programs at the same time without slowing down. As the CP box is a 'gaming' build, you might consider upping the SSD capacity and eliminating the HDD to lower power consumption, heat, and noise. Plus, with the liquid cooling you may be able to moderately overclock the i9 to 3.7GHz or higher for a little more speed. I was recently upgraded to the new iMac Pro 27", but with only 32gb ram and the Vega 56 (8gb). I use Cinema with VRay and I don't have the viewport slowdowns I was experiencing with my previous iMac, which only had a 4gb GPU. Personally, I wouldn't spend the extra money for a Mac, but my office is Mac-centric.
  11. It's getting there. Use your source photo to guide your lighting. It's nice and bright in the photo, so the intensity of your window light needs to increase. Work on the window/ambient light first, then tune your IES intensities to enhance the counter area without blowing out. If you can't get enough light from the window with high intensities, consider that the window may actually be closer to the counter in the photo than you think. There are indeed linear lights in and on the ceiling of the source photo as well. A trick with ceiling fixtures like these is to put a default luminous material on it so it LOOKS like it is on, but place an invisible area light just under it for the actual scene illumination for better control. When you start getting the ambient levels right, the noise in the ceiling should smooth out.
  12. Wow, that model is definitely overcomplicated; it seems to be made almost entirely out of generators! Also, it's a suspension fixture meant for soft indirect lighting, so having it smashed up against the ceiling may be causing problems simply because of the way it's built and the way it's being forced to be brighter than necessary in order to get the illumination you need for the interior. The animation doesn't show the back wall. Does the reference photo show the entire room from every angle? Perhaps there are windows, or a hallway/adjoining room etc where more light can come from. The corner seating group has no specific lighting either. Perhaps some track lights for wall wash. Recessed pot lights is another option to highlight the different areas.
  13. I'm curious how your light fixture is modeled. Does it have flipped polys? It also looks a bit over-bright and unrealistic to me. I wouldn't place any illuminated edges or faces touching the ceiling poly, especially if the ceiling doesn't have volume/thickness. This place is in serious need of some natural window light too, which might help eliminate the flickering as it will help smooth out the light-to-dark transitions and you could turn down the over-bright lights in that case.
  14. Render Vray Color Issue

    Light and shadows are playing here. Looks like you're using a spot light? If you want more even lighting, use GI only with a white environment color (which is where the GI will come from). Make sure the default light is set to 'Off' or 'Off with GI' in the Vray Options tab. Use your camera white point on Neutral, and adjust the settings for the exposure you want.
  15. Roughly, in Vray, I would make this as a 2-Sided material at 50% blend with same color on both sides. If you intend to be super close to it that you would see the fabric texture, then I would add a very high resolution opacity map for weight and maybe a normal map in bump. Then maybe put a Vray Composite tag with 'Receive Shadows' turned off. The trick will be not having intersecting geometry in the model.

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