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Vizn

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Everything posted by Vizn

  1. Assuming all the legs are roughly the same size, just scale the unwrapped uv polys to the same size. If the legs are different sizes, it will be trickier, but the idea would be to scale the uv polys to the same ratio to one another. If you unwrap each one before relaxing, rotating, and scaling, then they should be roughly proportionate to each other. Then just arrange them to fit into the uv space as you want and scale all at the same time to maximize the space being used while keeping them proportionate.
  2. Wow, that was great. Thanks for sharing!
  3. Looks great! The clip shadows look okay and aren't too distracting to me. I prob wouldn't have noticed if you didn't point them out. What material did you put on them? They look black. Maybe if the material was more of a semi-clear plastic rather than solid black it would help soften the shadows by allowing the light to spread them out more. Perhaps the GI solution would help soften them up as well. I am not familiar enough with C4D's GI and material illumination effects to offer any advice on that, unfortunately. Nice work. Love the detail you put into this.
  4. Nice! Kangol hat, wind breaker, color matched attire, fat laces..he's all set for the classic breakdance competition. ;)
  5. Happy Friday! Thought it would be fun to share a beer tank I modeled recently for a project. I will update with a contextual rendering. Cheers!
  6. The small details are satisfying, like the wall base contours, electric outlet, crown mould at the soffit, pamphlet display, and the fire sprinklers. The lighting and overall feel is a bit stark, but I understand you needed to adhere to the standards of the designer. Nice work.
  7. Modeling to scale benefits the light and shadow calculations as the algorithms are based on the real-world physical properties of light. I suppose if you aren't using GI, then maybe this point is less important, but it's still a good rule to follow most of the time. Light intensity basically pushes the light further, so the decay or falloff of the light takes longer the more intense it is. As light travels further, it bounces off more surfaces, which all gets added into ambient light levels. Because of this, building your scene materials as physically accurate as possible will help tremendously as well. With more intense lights, nearer surfaces receive more light since it isn't dying as quickly, which should equate to less noise at render. This might get you going in the right direction: https://www.popphoto.com/how-to/2010/10/how-to-shoot-neon-lights/
  8. What are you camera settings? In a real-world situation, neon is very intense and to get a picture at the levels you are showing, the camera settings need to be precise. It may be that you do need to crank up the light intensity and clamp down the camera, so that there is enough light being pushed through the scene to compensate for the sample rate? Hopefully, your scene is also constructed at real-world scale.
  9. Thanks @Icecaveman for the info. I need to put together a 360-pano-VR workflow at work and will be investigating the tech. And those are really cool @Cerbera , thanks for sharing!
  10. Here is a Photoshop file I whipped up for making a seamless grid. The 'Master' layer is a smart object, which is just one square. If you double-click it, you can edit it and adjust the grid width to your liking. I attached a PNG as well, in case you don't have Photoshop. Grid_10x10_Seamless.psd
  11. Just looking at the settings for your material tag, you have offset and scaled the U and V tiling arbitrarily. The texture is a uniform grid of squares. Any deviation from a 1:1 ratio will ruin any seamless effect. Make sure your wall heights and widths are all divisible by one (whole numbers) so that the grid will tile on them perfectly with cubic projection mapping. I can also see that your grid texture is not perfectly seamless as there is a thick/double line. This means the edge grid lines are being doubled. If you're making your own seamless grid, make sure the border lines are HALF the size of the rest of the grid lines, so when it gets tiled you get the correct line width.
  12. Vizn

    AI and Animation

    I refuse to live in fear. Bring it on! Even if that spells the end of humanity. If we go extinct, who will be around to care? Just our immortal AI creations, I guess. I hope they can learn from our mistakes and not destroy themselves. But then if they do, who cares? Maybe the meat humans the AI learn to create in order to do the menial labor that robots no longer want to do. Yeah..maybe that.
  13. How are you scaling the Null? Changing the scale via the attributes coordinates VS. dragging the Y handle of the Scale tool should give you the results you're after.
  14. This might help..not sure about the compatibility, but it's worth a try: https://lesterbanks.com/2016/11/c4d-renamer-pack-materials-objects-tags/
  15. Looks like what I am after. If a uniform gap between objects can be customized (so it's not just edge to edge) that would be all I need.
  16. For my intended use linear is perfect. Good luck!
  17. I found this old CGSociety thread that is pretty much what I am looking for, but of course links are dead. I found the Coffee Stock site mentioned in the thread (it's in Japanese) and there is an entry for a "CloneGenerator" which supposedly does this, but there is no download available as far as I can tell. So, I know it's possible, but I am not experienced with scripting. Anyone feeling up to the challenge?
  18. Whoa. That's a sweet tool! Had no idea it existed. Trying it out on @Langley's model, I did this in under 2 minutes after looking on the net how to use it.
  19. Interesting, but I was quickly more interested in looking up the big guys like Google, Facebook, Netflix. Wikipedia is ranked #5 most popular in the world but is only worth $2000 because no ads? Doesn't really make sense in terms of potential revenue based on traffic.
  20. Guys, I need to make a correction. Illustrator files come into C4D on XY. CAD files come in on XZ. In a test, my AI splines came in at world zero on Z and editing with pen tool kept everything on zero. Of course, I am still using R18, so the issue may very well be with R20. Sorry for any confusion.
  21. When it comes to highly reflective materials, they will always look best in a real-world type of environment. HDRI is the easiest way to achieve this look without modeling a full scene. Once you figure out how to set up an HDRI environment for Octane, it won't be necessary to use a main light source as all the light comes from the HDRI. Balance the exposure using camera settings, tweaking the HDRI exposure, or both.
  22. Your lighting setup appears basic, which won't give you those nice reflections, especially in a staged scene with no surrounding geometry to provide interesting reflections. Regardless of rendering engine, I suggest using an HDRI setup. There are free HDRI packs on the net, such as from Maxime Roz. However, you will need to find out the proper way to set up an HDRI light rig for your rendering engine.
  23. You definitely made the easy way less efficient by doing all sides at the same time. With a boole this complex it's no wonder your computer choked. One side would be enough to keep things running smooth, then just duplicate it around. By the way, the upper portion of your lantern is flawed as you have parts connected to nothing, just floating in space. You probably want that bit the other way around.
  24. I think what is going on is that the imported spline isn't at zero on Z. Illustrator files always import/open on XZ, so when we want it on XY we have to rotate it. If the axis isn't at zero on Z to begin with, it will be off once we rotate to XY. And in case anyone was wondering why 2D splines drawn in XY tend to come in on XZ it is because in 3D space XZ is the plane for table tops, which is where traditional drawing/drafting is done.

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