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nerv last won the day on March 1

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  1. Thank you, all! I think it went relatively well. you can watch it, among some other really great presentations via the link below: https://www.cineversity.com/vidplaylist/nab_2018_rewind/nab_2018_rewind_nate_rodriguez-vera_a_lazy_artists_guide_to_using_c4d MAXON will continue to add presentations to the playlist as the week goes on, so keep an eye on it! @Rectro you can see most of my work via my website and Instagram: https://somenerv.com https://instagram.com/somenerv
  2. Hi friends, 2018 has been a crazy, busy, intense year so far hence my absence here - but I never forget! So NAB 2018 is coming up and I am equal parts perplexed / honored to have been invited by MAXON to join their roster of speakers. I won’t be focusing so much on specific techniques. It’s meant to be more of an “inspo” / pep talk on how C4D was crucial in helping me (a self-proclaimed lazy artist with absolutely no formal background in this) start to find a niche in the 3D world, within a relatively short period of time. I’ll be showing a handful of re
  3. There’s an option in Redshift’s AO node to ignore other objects. It might help.
  4. I made a QuickStart tutorial for Redshift’s YouTube channel, covering the very basics of creating materials and shading. Nothing advanced. Literally the most essential shading topics (ie how to create a metal, or a glass, or wax, etc) so people can start getting familiar with it. Scene file included as well.
  5. It’s a decent first pass. I agree that right now all the surfaces look too perfect, which breaks the realism. Needs more rounded edges, more dirt, more bump, more irregularity. You don’t necessarily need textures. You can most likely do it all procedurally with AO, curvature, and noise nodes. Also it seems to be mostly front lit, which usually flattens things and makes them look even more unreal. The great thing about Redshift: it’s so fast, you can continue iterating and figuring out what works / what doesn’t without it taking forever. So you’ll get more comfortable
  6. Third (and final) theme for Perrier is now live.
  7. Just FYI: Redshift is running a 20%-off sale for all licenses, including node-locked and floating. Here’s your chance to save a decent chunk of cash on a new Redshift license (or additional ones if you’re doing any team rendering). More deets: https://www.redshift3d.com/blog/20-off-redshift-licenses
  8. Yep. That’s what I meant when I mentioned the VFX thing. Thanks for clearing it up. And I agree with all of this.
  9. The “plastic decal” node should be another RSMaterial node, with all of its own parameters, including roughness, etc.
  10. Recently bought Houdini indie. Had a few breakthroughs and no longer feeling totally frustrated by it. All that said... this newfound understanding of Houdini has made me appreciate C4D even more. Its immediacy is simply unmatched, especially for the majority of the work I’m paid to do. I rarely ever need simulation-based or organic VFX, and whenever I do, XP4 and TFD cover all those bases - while keeping me in a familiar environment. I work so quickly in C4D that it’s actually counterproductive to distract myself with another DCC, let alone one that (although very fl
  11. You don’t stack redshift materials via the object manager. You have to do it using nodes. See the thread below.
  12. The top half looks like shadows. Bottom half looks like reflections / caustics. I’m making some guesses here, but: 1. Arrange your geometry however you need. 2. Set up a camera perpendicular to your ground plane. 3. Set up an octane daylight with the sun rotation roughly at 45 degrees heading, and between 30-45 degrees pitch. Play around with different heading and pitch angles if needed. You can use other kinds of lights too, but I like using daylight as an example, because of its directional nature. 4. Give the daylight shadow a fair bit of smoothness. Tha
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