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Everything posted by nerv

  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. Can't live with 'em, can't pay rent without 'em. XP4 launched just as we were closing the books, so I never got a chance to try it out on this. I presume it would've been better than with 3.5, but still not sure that it stacks up to RF or Houdini's fluids. I might just re-sim these with XP4 at some point, just for comparison's sake. I do have a couple of prospective new projects that may require more realistic fluid behavior. I recently motivated myself to start getting into Houdini (again) for this and a few other things, so if XP4's fluids are still not really m
  13. Thanks. Yes, that was a subject of some internal debate. The results of having the liquids collide with the copy were mixed. The less viscous one (“water”) was more or less ok, but the viscous one (“bubblegum slime”) was kind of erratic and a little hard to tame - especially since the client was adamant about keeping the copy unoccluded for as long as possible. Something bumping into the copy momentarily was ok, but fluids remaining stuck to them wasn’t. It may have fared better with something like realflow or even Houdini to simulate the fluids, as opposed to XP. Howe
  14. Finally able to share a project I recently finished for Trident Gum’s latest ad campaign in Puerto Rico. The project consisted of a main 15-second animation to be aired in television and digital platform, plus a handful of individual loops to be used in social media stories, etc. Storyboarding and concept were done by McCann Worldgroup’s San Juan team, as well as all the final narration and audio. I was in charge of all animation, etc. All done in Cinema 4D and using a bit of X-Particles here and there. Rendered with Redshift.
  15. Happy new year, all! Kicking off 2018 with some more retro-future minimalism.
  16. nerv


    From the album: somenerv - Redshift R&D

    © Nate Rodriguez-Vera

  17. Hmmm... Using the constraints modifier? I might want to test that. Anyways... here's to lots more sweet rendering in 2018
  18. Fantasizing with being in the tropics, skipping through tide pools and finding alien-like creatures - instead of freezing my butt off in NYC.
  19. nerv


    From the album: somenerv - Redshift R&D

    © Nate Rodriguez-Vera

  20. And more... I have to admit, I'd started rendering this one with another engine (cough*the O-word*cough) and was having a hard time getting it to look the way I wanted. Re-did it with Redshift and it immediately started falling into place, especially the water caustics. Redshift is hands down the best at this. As always, some post treatment with ArionFX.


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