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Hey, you need a renderfarm? If that's the case, make sure you check this topic for more info! 


Vizn

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  1. I haven't done any outer space lighting, but I've seen lots of movies and tv shows! There needs to be some level of ambient light if you want to see the ship, plus some kind of directional main light source for highlights and shadows. If you imagine an extreme where there is no ambient light at all you would need to utilize the exterior lights on the ship to reveal its form in pitch black. I would probably go with IBL for subtle ambient light and maybe two carefully placed/tuned omni lights as key and rim for subtle highlights, maybe colored dark blue or purple to encourage a 'darkness' vibe, but it really comes down to what exactly you're trying to achieve.
  2. Weird reflection and whadow passes

    Use the Object_1 pass as an Alpha Inverted Matte to the Reflection pass to fix the edges.
  3. Sweep Start Growth geometry problem

    I recreated your issue and it might be that there is an incorrect setting in the rotation curve of the sweep. Just a guess though since there was no file supplied.
  4. Weird reflection and whadow passes

    The missing light appears to be bounced light, which is part of GI calculation, but I don't see a GI pass in your renders.
  5. Points to circle

    No more COFFEE script support in R20.. Would love to have this in python soon! Or maybe a small plugin with some kind of support for points on a curve to retain curvature.
  6. Save viewport layout

    Set your viewports as you like then save the file as "new" in the main Cinema folder. This file will be referenced when C4D is launched and when doing File > New. With this method you can also set any default objects you like to always have. For instance, I have cameras, sun & sky, dome lights, as well as some basic materials and personalized render settings that I prefer not to have to set up every time I start a new scene.
  7. Say the seats are all instances of one original. Make a copy of the original and all the instances. Make sure the new instances are referencing the new seat copy. Go to the points of the copy and select the center-most point on the seating surface. Invert the point selection and delete, leaving that single point. 'Connect and Delete' the copy and all of its instances to merge them into a single object. You now have an object made entirely of points that match the location of the center of the seats. On your people models, set their axis to be roughly where their butts will sit on the seats. Make sure the axis direction matches the axis direction of the point distribution object you just made. Put the people into a cloner and set it to Object mode and pick the points object, then set distribution to Vertex if necessary. If this isn't quite what you wanted, just remember that placement of objects is always related to their axis position.
  8. How to fuse 2 objects!

    Bit slow here at work, so I took a stab at doing this manually with the given geometry of the pot. Since the spout sweep was still available, I matched the spline subdivs to be the needed number of rotations to fit. I split a selection of polys from the pot that would give me the necessary points to manipulate, and that would seamlessly connect back to the pot later. The trick here is to change the edge flow direction in order to extrude the spout. This is done by creating the highlighted polys in the first image. Then I used the slide tool to push points along edges to maintain the curvature of the sphere/pot while shaping the base of the spout, using the sweep object as a guide. Image 2 show the finalized version. It's not the best job, I know! Next, I removed the patch of polys from the original pot and connected and optimized the new piece to weld them together. For the spout, I extruded the new oval edge loop out a small bit for the base portion, then again all the way to the tip. Scaled it to match the tip. From here it was just a matter of introducing cuts along the length and moving/rotating/scaling into position to mostly match the sweep, which was setup to have similar subdivisions as the pot (sorry I didn't take any screens at this point). Modeling Axis, Loop select, Edge snap, and the Scale tool were used a lot on this bit. You can get this shape utilizing a lot fewer polys with SDS modeling from the beginning. Again, this isn't perfect, but it was good practice to 'save' a model. :) Seaching the net for things like 'topology curve to circle' or similar can often reveal a lot of information. Good luck and keep modeling!
  9. From what I've learned, with 32bit LWF output from C4D, in AE you must have Linearize Working Space turned On. Monitors cannot display the full range of 32bit color, so you get banding. To fix the display of 32bit color you need to turn on Display Color Management. The display management compensates so you can see your intended comp result as you work. A test render should confirm this.
  10. Modeling A Ribbon

    Not sure I fully understood what you mean by 'offset and perpendicular', but here is an attempt I made. I started with a flat spline drawn in top view, duplicated it and offset it below the original (-Y) for the rail. Made the ribbon from a loft of two offset spline segments, then wrapped it. You have to manipulate the points of the spline and rail at the same time (have both selected) to keep the offset. Note the Spline Wrap rotation Banking is set to 90, which gives the 'perpendicular' aspect you meant, I think. I tried this with a plane and it would stretch/squish at extremes, which told me that it wasn't quite right. Using a loft, there isn't any stretching as it will kink instead, which seems more like what would happen with real ribbon. Adding more subdivs to the loft and/or adding points in the spline and rail could help in those situations, but I would think you really only want to have enough points to describe the curves/twists you want without extremes. I don't know.. hope this is helpful. Ribbon With Rail.c4d
  11. I would imagine that no two bags of sand would sit the same (google image search should confirm this), so what purpose is there to 'calculate' it without using particle and cloth simulations? That said, if you only want to make a static model with no need of dynamics or particles, then I suggest simply finding some reference images of bags of sand and get to modeling/sculpting.
  12. With the object selected, click the material tag. Now, activate Texture Mode and Enable Axis (see pic). Now use the rotate tool and hold shift to turn the projection cage 90.
  13. It has something to do with the fact that the symmetry object is mirrored on world axis, but the cubic uv projection is not world aligned. First, rotate the cubic projection 90 to fix the direction of the brushed metal over the top faces (this will make the clone look wrong), but then simply right-click the material tag and 'Generate UVW Coordinates' to lock the UVs and the clone will be correct as well. Edit: You will have to set the SDS subdivide UVs to Edge to fix the stretching after generating the UV coordinates.
  14. How to smooth bad model seams?

    @CraigT, on the Turbosquid page it is listed as Max9 native. Quite often, the universal versions (OBJ, 3DS, etc) that the artists export are garbage because they don't fix them up after the raw export. Luckily though, as another avenue for getting this solved, Turbosquid can do a conversion for you if you open a support ticket and explain to them the problem with smoothing and UVs of the exported formats. They might try to tell you that the model is not C4D compatible, but since the artist included the OBJ and 3DS, TS support should be able to help.
  15. This might help. https://www.cineversity.com/vidplaytut/apply_decal_maps_to_the_front_and_back_of_c4d_objects_using_the_side_option

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