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Vizn

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    http://caseyhawley.wixsite.com/vzm3d/interiors

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  • First Name
    Casey
  • Last Name
    Hawley
  • C4D Ver
    18.057 Studio
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    Phoenix-AZ, USA
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  1. What you're after is a Refraction pass. I am not intimately familiar with Cinema's Multi-pass, but I did some searching and there is plenty of info in past threads here.
  2. It's on the Subdivision Surface attributes..right under where you set it to 5 for editor.
  3. Nice! However, I can confirm this does not work in r18 either. :( I've become accustomed to double-clicking the first field, pressing zero, then double-tab, zero etc. Luckily I don't use the modeling axis too often.
  4. My guess is that you're using a 3D gradient with the wrong 'space' option. The shifting of colors is only happening when the character moves towards the camera, so it is likely you're using Camera space. Check out the help file under 'gradient shader' for more info and see if you can get it sorted.
  5. You have 5 in the 'editor' field, not the 'renderer' field. Two separate settings allow you to work/edit on a simpler form and render at another level. Edit: You also have two identical Boole objects at that third location.
  6. Subdivision Surface. It will take some getting used to, but there is info in the help files as well as many videos and tutorials online.
  7. Indeed. Trying to pick apart CG in television and movies started for me when I began taking classes for 3D, animation, texture painting, etc and has never really stopped since. I've only really been doing Arch-Vis my entire career which arguably is a simpler niche of CG, though I am pretty familiar with the other areas out of pure interest. I'm often noticing details in the way architectural structures, systems, and millwork are actually built. It's definitely not as demanding as character modeling, rigging, and animation, which there's no easy way around, but with arch-vis a lot of the times we're translating (faking?) those smaller details with textures or simplified geo because the actual detail won't often show up (or would make the scene too heavy) because the views are so vast. I also look at materials in the real world as reference and try to take mental notes of how certain characteristics appear like reflection levels, roughness, etc. at whatever time of day/lighting conditions it may be at the time. One could argue that 3D artists have a greater ability to see 'The Matrix'! ;) Sometimes I am almost convinced that we may actually be living in a complex computer simulation..but I digress. :)
  8. Didn't see you shared the file at first. Try this: 1. Make your gradient like this (black masks out the edges) 2. Set the layer mode to Multiply 3. Turn off Image Alpha 1. 2. 3.
  9. Missed step? Step 6d talks about using a gradient to soften the edges. The material you're using doesn't seem to show this at the edge of the disc.
  10. Ah, well how about that! I've only ever used the display color option for CAD splines to differentiate from geometry. Better than nothing at this point. Thanks for the tip!
  11. Not a Redshift user, however this also happens in Vray if 'Render Instances' is checked on the Cloner.
  12. Agree that you could delete half and use symmetry. Or, align the points in Front view (see pic) on both ends, then bridge/stich/weld as desired.
  13. I would like the ability to color code the text of objects in the object manager, or perhaps change the background color of the row. The purpose would be for ease of scanning large lists of objects, as one gets with Arch Viz type scenes. Using the search/filter is fine, but I think something to make certain text stand out a bit more could make quick glances easier. Just a thought. :)
  14. The the only other way I have found to effectively control where an object is created in 3D space is with another object selected, if you hold Alt/Option when you create a new object, it will be created at the selected object's axis point AND as a parent of the selected object. Useful when adding generators or deformers for specific objects not at 0,0,0. Adjust the hierarchy as needed. Note: deformers must be switched to child. You might also want to investigate the Transfer tool to enhance object PSR manipulation in your workflow.
  15. Short for isoparametric curves, which are how NURBS surfaces are calculated between control vertices. It's all very math, but they are basically like B-Splines for surfaces.

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