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About cavolfiore

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    Cafe Ronin

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    16 Studio

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  1. Wow Jed... it seems to do the trick! I'm gonna test it and get back to you later on Ok so now I want that the final spline keeps growing up (companies love to see that there's always growth in their history ) for this I think I can simply use a "Math node" to add a constant value to the y position of the "Y_amplitude" null object. Do you think it can work?
  2. Hello guys, I'm working on a project that requires a 3D timeline to grow in space and I was planning to build it procedurally via Xpresso. The first main obstacle I encountered is the possibility to "freeze" or "slow down" the time node that drives the Z-position of the null object (that will be traced to produce the 3D timeline). The "freeze" node seems to do the job, but there are two main issues: The switch option of the "freeze" node is an on/off button, I need to modulate it so that the time will slowly reduce its speed and then get back to it later. Once the pause is ended, I want the value to be the same as before putting on hold the time. I will attach here a screenshot of the Xpresso setup I have.. if you can give me some hints or suggestions I would love it. There is also the c4d project for you to test. Thanks a bunch :) cavolfiore Test_timeline_v02.c4d
  3. Thanks guys! I solved it buy import the texture in cinema and render them out with the distortion, it was not so time consuming as expected
  4. Hello everybody, Guess you can help me with this. I'm creating an opener that includes some geometries with glass shader; I was planning to put some cards behind the glass elements and show them just through the refractions. The obvious issue is that the textures I have to apply to the cards are not ready yet (they should be pictures of a crew) and I was wondering if it's possible to export from C4D the displacement map generated by the refractions and subsequently displace in post the texture that are gonna match the perspective due to the external compositing tag (applied to all the cards behind the glass elements) Let me know if it makes any sense to you:) Thanks guys cavolfiore
  5. Just to wrap this up: This is the final solution, the client was enthusiastic with this, so for me it's fine. I cannot say that the result is what I was looking for, but for now it's ok! pass: anteprima
  6. Thanks for Your reply :) Actually I was checking those tutorials before opening c4dcafe...what a coincidence :) Yeah, I will fake the texture transfer and as far as the simulation I will post here the result I got. The film lied just on top of the surface, leaving there the colors, while the rest of the logo will stay shaded in white. Apparently this is closer to the real process, so it's a win win so far. Keep you posted
  7. Hello everybody, I cut the story short: I'm working on a quick logo animation, the company concerned produces high tech equipments for thermal printing and they want this to be shown in the opener. The idea is to present their logo as an extruded mesh, shaded in white. Then a thin film with the colors in place is lied down over the 3D mesh and the colors will stay there while it's been removed, revealing the final logo with the proper colors. My first question is about the film animation. The first thought was to run a soft body simulation, I got mixed results, but my intent is to show the film "wrapped" around the surface of the extruded logo. I'm attaching the raw simulation I made. Any idea/suggestions for a possible approach? I will address the second question about the chance to transfer the texture from a model to another in a next topic. Thanks a bunch for now Cheers cavolfiore https://youtu.be/7VRuw6SZVUc
  8. Once upon a time, there was the option to save a project (ae, nk ecc..) that would have included the 3D data of Your scene. I don't know if it still working, I tried that workflow with C4D R18 and After Effects CC2017 and it didn't work at all. The alternative is to import your c4d project in your after effects project, drag it into a new comp and extract the 3D data via Cineware plugin. It should work without the need to bake the camera animation in Cinema :) Let me know if it works for You Cheers
  9. Thanks DeCarlo, I will definetly keep it in mind :)
  10. Thanks guys, I can show a previz I made @Petematul Hope to refine the look of the final render
  11. I did actually, but it basically darken the contact areas and I was looking for a different type of shadows. I opted for IBL lighting 'cause it gives great results with fabric texture, but what would be the right approach then? Is there a good way to combine GI and traditional lighting techniques? The only solution I figured out is to render the GI beauty and make a separate render for the shadows, so basically I will set the lights as I want and render a shadow pass that I will lately composite with my beauty, but this is a very raw workflow any other ideas? Cheers Federico
  12. Well if You work with After Effects I guess You can use the built in camera tracker, plexus needs an animated camera if Your goal is to have it stuck to the ground, so in any case You would need a tracked camera also in AE. You can track in C4D if You are more familiar with its tracker and then export the 3D data out of it and reuse those in AE. If you need a displaced geo to apply plexus on then yeah, model your surface in C4D, track the camera and export the 3D data, import the 3D data in AE and the obj you exported and you should be good to go. There are other ways to achieve the same effects even inside C4D. If interested we can talk here
  13. Hi everybody, I'm struggling with a 3D scene here or better with settin up the correct lighting. I'm currently using a HDR image to light up the scene, it's a exr with values far above 1.0. The result is appealing, but obviously a bit flat for my taste. I mean that I'd like to have some shadows here and there that create a good contrast with the highlights, but apparently it's very hard to manage additional lights in the scene. Whenever I add a light (the area lights slow down the render too much for my schedule) and I activate the shadow, the contribution to the overall illumination is minimum and the shadow are not even visibile. I know what GI is doing, shooting rays that illuminate also the area that should be in shadow with the result of a much brighter scene and my question is: How can I add more strong shadow without affecting the GI look? Is there a way to increase the contrast of the shadow produced by my sky (with a luminance texture that points to the exr data) or eventually adding addition shadows emitted by some sort of shadow casters? I'm very confused on this :( Thanks for any suggestions, I attach here some sample of the result I'm gettin right now Cheers Federico
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